Thèses sur le sujet « Joseph Manuscripts »

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Fonte documental do Brasil setecentista ainda inédita, os “Dialogos Geograficos Chronologicos, Politicos, e naturais, escriptos por Joseph Barbosa de Sáa Nesta Vila Reyal do Senhor Bom Jesus do Cuyaba - Anno de 1769.”, até então depositado no Instituto Histórico e Geográfico Brasileiro (Rio de Janeiro), constituem um manuscrito com 926 páginas. É dividido por seu autor em duas partes, a primeira constante de 10 capítulos e a segunda de 11. Nesta primeira parte dos Diálogos Geográficos, José Barbosa de Sá aborda os temas concernentes não somente à geografia física, mas também ao continente americano, às raças que povoam e povoaram as Américas, além de explicar como os animais foram trazidos a este continente; a segunda parte é composta de 11 capítulos que tratam principalmente da descrição de animais, plantas e minerais. Neste sentido, elegemos enquanto objeto de análise e estudo nos Diálogos Geográficos, as teorias de seu autor para explicar a ocupação do Novo Mundo pelos seres humanos e animais. Para além da investigação acerca das teorias cosmológicas contidas nos Diálogos Geográficos, procedemos a um levantamento sobre a vida e as obras de José Barbosa de Sá e elaboramos um índice explicativo com os autores por ele citados. Pretende-se assim fornecer subsídios não somente para uma maior compreensão do manuscrito Diálogos Geográficos, mas, principalmente, do Brasil setecentista, palco histórico onde José Barbosa de Sá concebeu sua maior obra.

The thesis investigates Sergei Prokofiev’s Violin Sonatas (Op. 80 and Op. 94bis) within the historical contexts of their years of composition (1938-46), dissemination (1944-48) and publication (1946-51) in the Soviet Union, the USA and, partially, the UK. It therefore considers Sergei Prokofiev’s Soviet years (1936-53) from a new perspective and unfolds the Western dissemination history of the Violin Sonatas and Prokofiev’s relationship with Western musicians during the Second World War and the Stalinist era. Moreover, the thesis sheds light upon the Soviet and Western cultural and diplomatic organisations that facilitated the dissemination and publication of the Violin Sonatas in the USA and the UK during the 1940s. The thesis examines and deduces via extensive study of primary sources the chronology of the composition of the Violin Sonatas. The First Violin Sonata (Op. 80, 1938-46), which has hitherto been examined most briefly in the literature, is traced from sketches to the Autograph Manuscript. The sketches are organised chronologically around the interrupted compositional period (1939-44), while the Autograph Manuscript dates from 1946. The Second Violin Sonata (Op. 94bis, 1944), a transcription of the Flute Sonata, is examined via copyist manuscripts, which trace the collaboration process between Prokofiev and the violinist David Oistrakh, who initiated the transcription of the Flute Sonata into the Second Violin Sonata, and subsequently became the dedicatee of the First Violin Sonata. Furthermore, the thesis evaluates the perception of the Violin Sonatas through the press reviews of premieres and interpretations of the works during the 1940s, both in the Soviet Union by David Oistrakh, and in the USA by Joseph Szigeti. The analysis of the first performance editions edited by Oistrakh and Szigeti in late 1940s and early 1950s (Muzgiz, Leeds Music Corporation, Anglo-Soviet Music Press) sheds light upon different historical approaches to the interpretation of the Violin Sonatas and is reflected in the recital that supplements the thesis.

Cette these s'appuie sur un manuscrit conserve au fonds ancien de la bibliotheque municipale de lyon : medee et jason de simon-joseph pellegrin et joseph-francois salomon. Le premier volume porte sur l'evolution du mythe de medee chez les anciens jusqu'au xviiieme siecle, definissant les sources d'inspirabilite de pellegrin. La dissertation attribuee avec certitude au librettiste, permet de definir son modele, la medee de longepierre, tragedie classique. La mise en parallele des deux oeuvres montre les faiblesses du livret. Celles-ci sont compensees par une recherche du spectaculaire et du merveilleux comme il est d'usage dans les tragedies lyriques et par une mise en musique qui pallie au manque de nuances des vers. Nous nous sommes interesses au principe d'imitation et au pouvoir expressif de la musique, langage des passions. Le second volume presente la restitution du livret lyonnais (1744) et le fac-simile de la partition lyonnaise (1732). Nous avons etudie les remaniements en confrontant les documents lyonnais aux editions parisiennes et avons rassemble l'ensemble des morceaux composes pour cette meme tragedie, ce qui a permis de trouver un morceau original ajoute a la partition. Enfin, nous avons replace les deux documents dans le contexte musical lyonnais.

This thesis examines the work of antiquary and scholar Joseph Ritson (1752-1803) in publishing significant and influential collections of early English and Scottish literature, including the first collection of medieval romance, by going beyond the biographical approaches to Ritson's work typical of nineteenth- and twentieth-century accounts, incorporating an analysis of Ritson's contributions to specific fields into a study of the context which made his work possible. It makes use of the 'Register of Manuscripts Sent to the Reading Room of the British Museum' to shed new light on Ritson's use of the manuscript collections of the British Museum. The thesis argues that Ritson's early polemic attacks on Thomas Warton, Thomas Percy, and the editors of Shakespeare allowed Ritson to establish his own claims to expertise and authority, built upon the research he had already undertaken in the British Museum and other public and private collections. Through his publications, Ritson experimented with different strategies for organizing, systematizing, interpreting and presenting his research, constructing very different collections for different kinds of texts, and different kinds of readers. A comparison of Ritson's three major collections of songs - A Select Collection of English Songs (1783), Ancient Songs (1790), and Scotish Songs (1794) - demonstrates some of the consequences of his decisions, particularly the distinction made between English and Scottish material. Although Ritson's Robin Hood (1795) is the most frequently reprinted of his collections, and one of the best studied, approaching this work within the immediate context of Ritson's research and other publications, rather than its later reception, offers some explanation for its more idiosyncratic features. Finally, Ritson's Ancient Engleish Metrical Romance's (1802) provides a striking example of Ritson's participation in collaborative networks and the difficulty of finding an audience and a market for editions of early English literature at the beginning of the nineteenth century.

The story of Joseph and Aseneth expands a few verses from the book of Genesis into a novella-length work. In recent years, the story has attracted considerable scholarly attention. Interest has focused on questions of provenance: whether the 'longer' or 'shorter' version of the text has priority, and what this means for its interpretation. Like other works of the so-called 'Jewish Pseudepigrapha', it is increasingly used as a source for Judaism and Christianity at the turn of the Common Era. But few have engaged with the story's manuscript witness and transmission. This thesis returns to the sources. It considers how the redaction and translation of Joseph and Aseneth affected its interpretation, and looks at the interests of the redactors and copyists. It warns against placing too much weight on details that lack such an importance in the manuscript tradition. The introduction surveys modern secondary literature on the story. Section 1 investigates the translation and transmission context of the two earliest preserved versions, the Syriac and Armenian translations. Despite their text-critical importance, they have received little attention. Section 2 focuses on the Greek manuscripts of the three longest families (f, Mc, a). It argues that these redactions, and the variety within their witnesses, need to be understood within a Byzantine context, in particular, within hagiographic trends for works produced in monastic environment. Section 3 looks at how the story could be abridged and edited. It identifies the key elements of the story shared by redactors. Four versions are compared: family d, E, Latin 1 and so-called "early modern Greek". The appendices contain a synoptic presentation of Greek versions of the story, an edition and translation of the story from manuscript E, and a translation of the Greek text from manuscript 661.

Orientador: Lenita Waldige Mendes Nogueira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem como objetivo o resgate do patrimônio histórico e musical campineiro, através de transcrições musicológicas e considerações analíticas de três Missas de Manoel José Gomes (Santana de Parnaíba, 1792 - Campinas, 1868), conhecido sob a alcunha de Maneco Músico, figura central no panorama musical da cidade de Campinas durante o século XIX. Pai do compositor Carlos Gomes (1836-1896) e mestre-de-capela na cidade por mais de cinqüenta anos, sua produção musical integra o acervo da Coleção Manoel José Gomes, tematicamente organizada por Lenita W. M. Nogueira e publicada no livro Museu Carlos Gomes: Catálogo de Manuscritos Musicais. Dentre as sessenta e duas obras atribuídas a este compositor, as Missas focalizadas neste estudo foram escritas para coro a quatro vozes e orquestra, dispostas em manuscritos autógrafos em partes cavadas, datados do período de maior atividade do compositor (décadas de 40 e 50). A pesquisa foi dividida em três capítulos, organizados em dois volumes, um destinado às considerações analíticas e o outro às transcrições. Cada capítulo é dedicado a uma Missa, apresentada em ordem cronológica decrescente (1854 a 1852). A abordagem de cada obra compreende observações analíticas referentes às indicações contidas nas partes manuscritas e elementos musicais relacionados a texto/forma, orquestração/textura e estrutura harmônica (Volume I), e à transcrição musicológica com notas de edição (Volume II). O primeiro volume apresenta um quarto capítulo, quando são apontados aspectos comuns às três Missas, tendo em vista os parâmetros analíticos utilizados para cada uma, numa tentativa de se esboçar alguns procedimentos composicionais característicos de Maneco Músico. O resultado da pesquisa apresenta às orquestras e corais contemporâneos a partitura em notação atualizada, possibilitando uma interpretação que coloca músicos e público em geral em contato com obras representativas de um momento histórico no qual a execução de música sacra era evento da maior importância no contexto histórico-musical brasileiro
Abstract: The objective of this work is to compile the historical and musical patrimony of Campinas (São Paulo-Brazil), through musicological transcriptions and analytical considerations of three Manoel José Gomes' masses (Santana de Parnaíba, 1792 - Campinas, 1868). He was known as Maneco Músico (Musician Maneco) and regarded as key figure in the musical panorama of Campinas during the 19th century. Maneco Músico was the composer Carlos Gomes' (1836-1896) father and he was the chapel-master of Campinas for more than fifty years. Manoel Gomes' musical production integrates the Manoel José Gomes' Collection, thematically organized by Lenita W. M. Nogueira and published on the book Museu Carlos Gomes: Catálogo de Manuscritos Musicais (Carlos Gomes' Museum: Musical Manuscripts Catalog). Among the sixty-two works attributed to this composer, the masses focused in this study were written for four voices choir and orchestra disposed in autograph manuscripts in individual parts dated from the composer's intense activity period (40-50 decades). The research was divided in three chapters which were organized in two volumes: one destined to analytical considerations and the other to transcriptions. Each chapter is dedicated to a particular mass and presented in decreasing chronological order (1854-1852). The approach of each work consists of analytical observations regarding to the indications contained in the manuscript parts and musical elements related to text/form, orchestration/texture and harmonic structure (Volume I) and to the musicological transcription with edition notes (Volume II). The concluding section points common aspects of the three masses considering the analytical parameters used for each one in an attempt to sketch Manoel Gomes' composing process. The result of the research presents to the orchestras and contemporary chorals the score music in updated notation. Therefore, making possible the performance that will put musicians and general public in contact with representative pieces of work of a historical moment in which the sacred music was of great importance in Brazil
Doutorado
Doutor em Música

This thesis seeks to answer the question of how Joseph Smith—History found in The Pearl of Great Price developed into a part of the canon of The Church of Jesus Christ of Latter-day Saints. When the prophet Joseph Smith first dictated the text to his scribes it seems he had not intended for the work to become scripture, but simply to follow the Lord's divine mandate to keep a record. Additionally he provided the purpose in his document to "disabuse the public mind, and put all inquirers after truth in possession of the facts, as they transpired." The format he proposed for the Manuscript History illustrates how it was originally not purposed for scripture. The compiling of that history took the efforts of many men and women and spanned the length of almost twenty years to complete. Joseph Smith had begun the dictation to his scribe George Robinson in 1838, but it was unfinished. Joseph later began the dictation anew to his scribe James Mulholland, first having the man rewrite what he had told to Robinson and then picking up the dictation from there. While the prophet had started and stopped histories before, this particular dictation began the enduring effort. The Manuscript History was developed from the original 59 pages that were scribed by Mulholland. By the efforts of other scribes, but mostly Willard Richards, the history was completed. The official statement of Brigham Young and Orson Pratt upon its completion said nothing of extracting portions for canon. But Mulholland's work seemed destined for a different purpose than the rest of the Manuscript History. It was printed serially in the Times and Seasons, and a few apostles seemed to catch a vision of what the manuscript could do for potential converts and members of the Church. Orson Pratt was especially a proponent of communicating certain key events as illustrated in his missionary tract "Remarkable Visions." A later apostle, Franklin D. Richards, would see the benefit of using the official history to distribute the history of the restoration of the Church to others. He extracted portions from Mulholland's text that covered certain main events in Joseph's life and printed them in his missionary tract The Pearl of Great Price. This pamphlet would eventually be canonized by The Church of Jesus Christ of Latter-day Saints in 1880. Joseph Smith-History's inclusion in the reclamation of revelation that occurred in 1880 was deserved. This is evidenced by examining the process of canonization and the guiding principles of canonization employed by the Church of Jesus Christ of Latter-day Saints. It was canonized at the same time as many other revelations and at a General Conference saturated with many important events. Consequently it is difficult to gauge the reaction to its inclusion in canon, except in how it has been used since its canonization. After its inclusion into scripture the text has become a foundational piece of literature for the Church. The impact the text has had can be seen in the culture, missionary work, and doctrine of the Church. The focus of this thesis is to map the text's journey from birth to canonization.

[EN] As far as I know, no research has been done so far on the reception of Joseph Haydn's music, particularly that concerning the liturgical repertoire, in Latin, in the main centres of production of church music in the Valencian Community. The first source with music by Haydn, dated in Valencia in 1789, when the musician's composing activity was at its best -the organ part of the "Grosse Orgelsolomesse" ("Great Organ Solo Mass")-, appears n Valencia only three years after he composed Die sieben letzten Worte unseres Erlösers am Kreuze ("The Seven Last Words of our Saviour on the Cross") commissioned to Haydn by the Hermandad of the Santa Cueva in Cadiz. On the other hand, the number of compositions wrongly attributed to Joseph Haydn is, in all probability, much higher when it comes to church music than any other genre, which offers a wide and interesting field to study.
[ES] Hasta donde conozco, no se ha realizado hasta la fecha un estudio sobre la recepción de la música, particularmente en lo referido al repertorio litúrgico -en latín- de Joseph Haydn, en los principales centros de producción musical eclesiástica de la Comunidad Valenciana. La primera fuente con música de Haydn datada en Valencia, en 1789, en plena actividad compositiva del músico de Rohrau -la parte para el órgano de la "Grosse Orgelsolomesse" ("Gran misa para solo de órgano")-, aparece en Valencia sólo tres años después de la composición de Die sieben letzten Worte unseres Erlösers am Kreuze ("Las siete últimas palabras de nuestro salvador en la cruz"), fruto del encargo que hiciera la iglesia de la Santa Cueva de Cádiz al compositor. Por lo demás, el número de atribuciones de composiciones, equivocadamente adjudicadas a Joseph Haydn es, seguramente en el campo de la música de iglesia, mucho mayor que en otros géneros, lo que ofrece un amplio e interesante campo sobre el cual poder investigar.
[CAT] Fins hui, no s'ha fet cap estudi sobre la recepció de la música, en particular el cas referit al repertori litúrgic -en llatí- de Joseph Haydn, en els principals centres de producció musical eclesiàstica de la Comunitat Valenciana. La primera font amb música de Haydn datada en València, en 1789, en plena activitat compositiva del músic de Rohrau -la part per a l'orgue de la "Grosse Orgelsolomesse" ("Gran Missa per a solo d'orgue")-, apareix en València només tres anys després de la composició de Die sieben letzten Worte unseres Erlösers am Kreuze ("Les set paraules de nostre Salvador en la Creu"), fruit del encàrrec que fera la cofraria de la Santa Cova de Cádiz al compositor. A banda d'això, el nombre d'atribucions de composicions, adjudicades per equivocació a Joseph Haydn és, segurament en el camp de la música d'església, molt més gran que en altres gèneres, la qual cosa oferix un ampli i interessant camp sobre el que poder investigar.
Aparisi Aparisi, J. (2015). Recepción de la música eclesiática de Joseph Haydn en los archivos catedralicios de la Comunidad Valenciana: sus fuentes [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59242
TESIS

Cette thèse propose une lecture historique des nouvelles de la gazette de Lisbonne entre 1715 et 1760. L'analyse part des silences politiques des nouvelles de la Gazeta de Lisboa pour s'étendre ensuite aux textes manuscrits qui accompagnaient l'actualité parallèlement au périodique imprimé. Les rapports entre ces deux supports de circulation des nouvelles, l'imprimé et lemanuscrit, sont observés et caractérisés comme étant à la fois structuraux et complémentaires, chacun jouant un rôle social. En passant par les mêmes personnes, l'information était l'objet d'une publication différenciée selon les contraintes et les caractéristiques relatives de chacun des supports. Le rapport entre nouvelles imprimées et manuscrites est ainsi le socle méthodologique de l'analyse, l'axe autour duquel tournent d'autres aspects fondamentaux étudiés : les nouvelles de la gazette comme genre discursif paradoxal, situé entre l'histoire et la périodicité, et les enjeux idéologiques de la circulation, à Lisbonne et au Portugal, de nouvelles sur les conflits entre les principales puissances diplomatiques de l'Europe du XVIIIe siècle
This thesis proposes a historical reading of the news of the Lisbon gazette considered in its first phase of existence, between 1715 and 1760, during the kingdoms of D. João V (1707-1750) and D. José I (1750-1777). Starting from the political silences of the gazette's news items, the scope of the analysis extends to the handwritten information that circulated contemporaneously to the printed newspaper. Handwritten and printed news were exchanged within the same social networks. From it resulted a diffesrentiated publication, according to the social and political features of each media. The relationship between these two different media is described as both structural and complementary, and it forms the axis of the research. It will lead us to two other fundamental aspects described in this dissertation : a description of the gazette as a paradoxical textual genre, located between history and periodicity; and the ideological meaning of the circulation of news on European warfare in XVIIIth century Portugal

Dans cette thèse, nous nous sommes proposé de mettre en relief la vie d'un troubadour, Folquet de Marcelha, représentée à l'intérieur de la tradition manuscrite. Plutôt que de dégager, d'après diverses sources, des éléments constitutifs de la vie de ce poète devenu enfin évêque de Toulouse (1205-1231), notre thèse tente de mettre en évidence le milieu d'un scribe du manuscrit c occitan (paris, bibliothèque nationale, fr. 856) qui a placé à dessein ce troubadour au début de son volume (fol. 1-6). En effet, la spécificité de chaque recueil ne se dégagera que par l'explication interne, c'est-adire par le travail qui consiste à peser des leçons, à en tirer des idées, les classer et à les interpréter à partir d'un chansonnier choisi comme base. Ayant mis en regard le texte du manuscrit r (paris, bibliothèque nationale, fr. 22543), nous avons discerne et constate quelques tendances propres au scribe ou au compilateur qui a du réunir les poèmes avec une certaine intention. Afin de présenter ultérieurement une édition critique de ce troubadour, nous avons pris une tout autre voie que Stanislas Stronski qui a déjà fourni une édition exhaustive en 1910 selon la méthode combinatoire dite lachmannienne
In this thesis we wanted to bring out the life of a troubadour Folquet de Marcelha represented inside the "tradition" of manuscripts. Rather than to extract the factors that constitute the life of this poet who became finally bishop of Toulouse (1205-1231), our aim is to reveal and clarify the milieu of a scribe of the manuscript c Occitan (Paris, bibliothèque nationale, fr. 856) who disposed intentionally this troubadour - bishop in the first place of his anthology (fol. 1-6). As a matter of fact, the characteristic of each compilation becomes apparent only from an explanation "interne", in other words, from the study that consists in weighing the variants, taking out the notions of passages, classifying and explaining them, given a chansonnier appointed base. The texts with the manuscript r (Paris, bibliothèque nationale, fr. 22543) made it possible for us to discern several tendencies of the scribe or the editor who must have joined the pieces together on purpose. In order to offer sub-sequently a critical edition on the basis of c, we have taken the very different way from which Stanislaw Stronski who had given in 1910 a, exhaustive edition according to the method of karl lachmann

Aquesta tesi doctoral estudia la traducció de "Macbeth" (1959) que va fer Josep Maria de Sagarra. Les aportacions principals són les següents: 1) esbrinar les influències en la traducció de Sagarra de traductors francesos, castellans i catalans precedents (François-Victor Hugo, Maurice Maeterlinck, Magí Morera i Galícia, Luis Astrana Marín, Cebrià Montoliu, Diego Ruiz i Cèsar August Jordana) tot evidenciant les relacions nacionals i transnacionals que s’estableixen entre ells; 2) indicar quins són els trets característics del text de Sagarra comparant la seva traducció amb l’original de Shakespeare, tenint en compte tant les crítiques positives com negatives que han rebut les seves traduccions de les obres del dramaturg anglès; 3) determinar les aportacions de Sagarra respecte a les traduccions catalanes anteriors de "Macbeth"; 4) analitzar les similituds i diferències entre els tres estadis del text de Sagarra (manuscrit, edició de bibliòfil i edició d’Alpha); 5) determinar, gràcies a la troballa dels manuscrits, les dates de les traduccions de Shakespeare que va fer Sagarra; i 6) proposar i aplicar un model de classificació per estudiar les similituds i diferències entre un text literari i la seva traducció i entre diferents traduccions literàries del mateix text.

This project is a diplomatic transcription and English translation of a passage from an 18-century manuscript that chronicles a remarkable Portuguese embassy to China (Macau). The embassy embarked from Lisbon in February 1752, sailing in a luxuriously outfitted ship (Nossa Senhora da Conceição e Lusitânia Grande), in convoy with a warship (Nossa Senhora das Brotas). The English translation is important because it makes the account accessible to scholars who lack familiarity with Portuguese.This voyage to China is remarkable in light of the long history of maritime loss by the Portuguese. Although the normal projected loss of life on this route was 20%, this journey was made without one death. Some of the most fascinating aspects of the journey include the following: a) how the intrepid crew of the Nossa Senhora (most of whom were novices) and the passengers dealt with bad weather at sea; b) the religious rites conducted during the voyage by Jesuit priests en route to the Far East missions, which the passengers firmly believed mitigated the dangers and were thus responsible for their safe journey; c) the intriguing political maneuvering between the Portuguese and Chinese in Macau; and d) the meticulous descriptions of the different cultures, peoples and places encountered on the journey.

In this thesis I present new insights into aspects of Peter Guthrie Tait's life and work, derived principally from largely-unexplored primary source material: Tait's scrapbook, the Tait–Maxwell school-book and Tait's pocket notebook. By way of associated historical insights, I also come to discuss the innovative and far-reaching mathematics of the elusive Frenchman, C.-V. Mourey. P. G. Tait (1831–1901) F.R.S.E., Professor of Mathematics at the Queen's College, Belfast (1854–1860) and of Natural Philosophy at the University of Edinburgh (1860–1901), was one of the leading physicists and mathematicians in Europe in the nineteenth century. His expertise encompassed the breadth of physical science and mathematics. However, since the nineteenth century he has been unfortunately overlooked—overshadowed, perhaps, by the brilliance of his personal friends, James Clerk Maxwell (1831–1879), Sir William Rowan Hamilton (1805–1865) and William Thomson (1824–1907), later Lord Kelvin. Here I present the results of extensive research into the Tait family history. I explore the spiritual aspect of Tait's life in connection with The Unseen Universe (1875) which Tait co-authored with Balfour Stewart (1828–1887). I also reveal Tait's surprising involvement in statistics and give an account of his introduction to complex numbers, as a schoolboy at the Edinburgh Academy. A highlight of the thesis is a re-evaluation of C.-V. Mourey's 1828 work, La Vraie Théorie des quantités négatives et des quantités prétendues imaginaires, which I consider from the perspective of algebraic reform. The thesis also contains: (i) a transcription of an unpublished paper by Hamilton on the fundamental theorem of algebra which was inspired by Mourey and (ii) new biographical information on Mourey.

Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde.

The theme of my thesis is the patriotic pedagogue Josef Věnceslav Soukup (1819-1882) whose life was full of feverish activity in the educational system. Moreover he was a prolific author of textbooks (one of his famous is The Technological Natural History) and musical works - we can mention his Wreath of fine songs which includes the song Wayfarer that is known for today. In music he paid attention to carols and Christmas songs and plays as well (the most famous is The Young Shephers of Bethlehem). J. V. Soukup excelled in almost every field, not only in pedagogy and music but also in drawing (he even taught Mikoláš Aleš, the well-known Czech painter), chemistry, technology and cultivation of plants. Moreover he contributed to many pedagogical magazines. The beginnins of his teacher's career were not easy, he strained for an appropriate position and during that time he had hardly anything to eat. He gave private lessons for food and played in pubs with the band of musicians to earn some money. However, as really hardworking and diligent student he got stipendium and thus he had not have any financial problems since that time. He knew K. S. Amerling (a great pedagogue who participated in the efforts of a higher girls' education) whose lectures he attended and was influenced by his philosophy. Josef Věnceslav...

This work exposes, evaluates and summarises academic and professional career of Jan Nepomuk Vaclav Zimmermann (1788-1836), who worked as a scriptor and a censor. It reviews his censoring and book-examining skills across all fields of book culture. It investigates and evaluates whether contemporary critical testimonies depict Zimmermann's rather negative character rightfully and accurately or not. Zimmermann devoted his time to examining and censoring Czech books and also Hebrew books. As a scriptor at University library, he was responsible for collecting, archiving and organizing manuscripts into catalogues. These catalogues have been filed in National Library for many years. Palaeographical analysis of the catalogues will bring in new facts concerning Zimmermann's autorship. This thesis also presents a list of Zimmermann's work with its historical critical evaluation and compares it to the recent research. Keywords: Jan Zimmermann, Manuscript Catalogues, University Library, Censorship, Censoring Hebrew Literature, Censoring Czech literature, of the Cross with the Red Star, Reformation of Catholic Church under the reign of Joseph II