Eu mesma matei meu filho: do filicídio materno como poética trágica em Eurípides, Goethe e García Lorca

A presente tese investiga as poéticas do trágico nas obras teatrais de Eurípides (Grécia, c. 484 406 a.C.), Johann Wolfgang von Goethe (Alemanha, 1749 1832) e Federico García Lorca (Espanha, 1898 1936) e defende que, nos três autores, as concepções estéticas do trágico se constituem principalmente sobre a representação poética do filicídio materno. A antinomia trágica engendrada, metaforicamente, no assassinato da criança pelas mãos daquela que lhe deu a vida é tema de Medeia (431 a.C.), Tragédia de Margarida (1790) e Yerma (1934), obras fundamentais para compreender a visada trágica dos três poetas aqui, em respectivo, estudados. O conflito com o sagrado e com a razão, ao apontar para a afirmação trágica do corpo e do feminino, frequenta as três obras. O paralelismo entre as dimensões política e estética é, por conseguinte, patente nos três dramas, ao mesmo tempo em que cada um dos autores, com contexto e assinatura próprios, configura uma ideia estética acerca do trágico inteiramente singular. O diálogo entre literatura e filosofia, ou entre intuição e conceito, atravessa, nesta tese, a leitura do trágico na metáfora do filicídio. Sob tal perspectiva, a Medeia de Eurípides impõe-se no centro do debate entre socráticos e sofistas, e aborda temas, como o domínio das paixões sobre a razão, que também aliciaram autores como Platão, Aristóteles e Nietzsche. A Gretchentragödie, de Goethe, apresenta-se, por sua vez, como obra poética aonde convergem as mais calorosas discussões estéticas do moderno pensamento alemão, como as questões do sublime (Kant, Schiller) e da vontade (Schopenhauer). Yerma, de García Lorca, será também uma obra de convergência filosófica, expressando a nueva manera espiritualista que marca a última fase da produção lorquiana: a perspectiva trágica de Nietzsche, na afirmação do corpo como grande razão, assim como o diálogo de Lorca com o pensamento de Miguel de Unamuno sobre El sentimiento trágico de la vida, caracteriza uma espécie de tragédia às avessas, que nega o sagrado e afirma o trágico como síntese libertária do eu, do corpo e do feminino

Biologie de Penaeus duorarum (Burkenroad) en Côte d'Ivoire: croissance

The Petersen method was used to make growth assessments from experimental data collected during 1966-67 and 1969-70. The parameters K and L ∞ were calculated from the Von Bertalanffy growth curve. There was very little difference between the two years although growth in 1969 appeared slightly greater. A comparison of our results in Côte d'Ivoire with those from Senegal and Gulf of Mexico showed that the greatest growth occured on the west African coast and especially off the Côte d'Ivoire.

Biologie de Penaeus duorarum notialis en Côte d'Ivoire. 5 - Nouvelle étude de la croissance

Von Bertalanffy's growth curve parameters K, L∞ and t'o have been estimated for female Penaeus duorarum by modal progression analysis, using the "successive maximums method" of Gheno and Le Guen (1968) for the polymodal size frequency curves analysis and the Tomlinson and Abrahamson's least squares method for parameters computations. For the male the authors used an original method to get an age/length key. The parameters were calculated by Gulland's graphical method (1969).

Simulation stochastique des structures démographiques. Application aux populations d'albacores, Thunnus albacares

A computer program has been written in order to generate a population of fishes following a Von Bertalanffy growth curve with a random Gaussian variability for birth dates and growth parameters K and L ∞. Standard deviations for these 3 parameters are chosen separately for each run. Fishing and natural mortalities are applied to this population. Using as an input parameters usually taken for yellowfin in the eastern Atlantic, the simulation suggests a standard deviation between 1 and 2 months for the birth dates in this population. It also indicates that increasing levels of fishing mortalities must produce a better agreement between age and length for the larger fish.

Biologie de la phase lagunaire de Penaeus duorarum en Côte d'Ivoire: biométrie et croissance.

Principal biometric relations have been calculated for juvenile pink shrimp Penaeus duorarum, of Côte d'Ivoire lagoons. Growth has been studied from weekly sampling using Petersen's method and Von Bertalanffy's equation. Results are very similar to those obtained by the authors working in the same environmental conditions, especially concerning temperature.

Food conversion efficiency and the von Bertalanffy growth function. Part II and conclusion: Extension of the new model to the generalized von Bertalanffy growth function

The simple model relating food conversion efficiency (K sub(1)) to body weight derived from the theoretical concepts behind von Bertalanffy's growth model, is extended here in the context of Pauly's generalization of that model. The exponent, which was fixed to 1/3 in the simple model, is in the extended model equivalent to 1-d, with d being the weight exponent of the anabolism term in Pauly's growth model. This makes the model applicable to fish for which the assumptions of the original (special) version of von Bertalanffy's growth model are violated.

Das Bistum Würzburg 7. Die Würzburger Bischöfe von 1617 bis 1684

Winfried Romberg führt mit dem Band Die Würzburger Bischöfe von 1617 bis 1684 die Bischofsreihe fort, die Alfred Wendehorst begonnen hat (Germania Sacra Neue Folge 1/4/13). Damit erscheint ein Band, der in besonderer Weise für den Schwerpunkt der Dritten Folge der Germania Sacra steht: Die Darstellung von Diözesen und Domkapiteln der Kirche des Alten Reiches. Er beleuchtet die Lebensläufe und Amtstätigkeiten neuzeitlicher Würzburger Bischöfe des 17. Jahrhunderts und umfasst die Pontifikate von Johann Gottfried I. von Aschhausen (1617–1622) bis zum Pontifikat von Konrad Wilhelm von Wernau (1683–1684). Die Bischöfe dieser Zeit waren von überregionaler Bedeutung und Wirksamkeit, wie sich beispielhaft in der Person des Bischofs Johann Philipp I. von Schönborn (1642–1673) zeigt, der zugleich Erzbischof von Mainz war. Johann Gottfried I. von Aschhausen, Franz von Hatzfeld und Peter Philipp von Dernbach waren Bischöfe von Würzburg und Bamberg in Personalunion, womit sich der Band auch an die Darstellung der Bamberger Bischofsreihe von 1522 bis 1693 von Dieter J. Weiß (Germania Sacra Neue Folge 38) anschließt. Die Viten, die das Wirken des einzelnen Bischofs in seinem Amt in den Vordergrund stellen, bewegen sich im geschichtsträchtigen Umfeld von Rekatholisierung, Dreißigjährigem Krieg und Frühabsolutismus.

BACH TO BASICS: A PERFORMANCE STUDY OF THE SUITES FOR SOLO CELLO BY JOHANN SEBASTIAN BACH, BWV 1007-1012

This dissertation project focuses on J.S. Bach's Six Suites and explores the ideology of the Suites as etudes versus concert pieces. It is my belief that the evolution of the rank of the Suites in a cellist's repertoire today represents more than just historical coincidence. My premise is that the true genius of the Suites lies in their dual role as !&I efficient teaching pieces and superior performance works. Consequently, the maximum use of Bach's Six Suites as pedagogical material heightens both technical ability and deeper appreciation of the art. The dual nature of the Suites must always be emphasized: not only do these pieces provide innumerable opportunities for building cello technique, but they also offer material for learning the fundamentals of melody, harmony, dynamics, phrasing and texture. It is widely accepted among academic musicians that Bach's keyboard music serves as perfect compositions -- the model for music theory, music form and music counterpoint. I argue that we should employ the Cello Suites to this same end. The order in which the Suites are presented was deliberately chosen to highlight the contrasts in the pieces. Because the technical demands of each suite grow progressively from the previous one, they were performed non-consecutively in order to balance the difficulty and depth of each recital. The first compact disc consists of the Third Suite in C Major and Fifth Suite in C minor (with scordatura tuning), emphasizing the parallel keys. The Second Suite in D Minor and the Fourth Suite in E-flat Major comprises the compact disc. Finally, in the third compact disc, the First Suite in G Major and the Sixth Suite in D Major (composed for the five string cello piccola, but played here on a four-string cello) highlights the progression of the Suites.

SELECTED REPERTOIRE OF THE GILLET COMPETITION FROM 1996 TO 2006

There are many bassoon competitions around the world- and one of the most famous is the Gillet competition, sponsored by the International Double Reed Society. In 1981, it was established as an annual event, the "Femand Gillet Bassoon Competition"- a title expanded in 2000 to the "Femand Gillet-Hugo Fox Bassoon Competition." My goal was to explore the history of the competition, the availability of the repertoire selected for each competition, and the difficulties performing each piece. Through this journey, I was able to discover the variety of material chosen and how it was used, the quality, value, and the importance of the repertoire in each competition. For example, Ferdinand David's Concertino op.12, the style of the piece provides romantic, operatic type lyricism, a flashy presto section and finale, makes it as a standard romantic piece in the bassoon repertoire; Otmar Nussio's Variations on an Air by Pergolesi, contains a slow theme and few diverse variations, which provides a contemporary style music with the traditional music form and descriptive quality. The result of learning this repertoire proves that different styles of music in the competition demonstrate the artistry of the bassoon repertoire and music history in relationship of the development of the instrument. My first dissertation recital featured: Concerto for Bassoon, K. 191 by Wolfgang Amadeus Mozart; Concertino by Marcel Bitsch; Metamorphoses by Leslie Bassett; and Sonatine by Alexandre Tansman. My second recital featured: Concerto in E minor, RV 484 by Antonio Vivaldi; On the Summer Map of Stars by Gordon Kerry; Concertino Opus12 by Ferdinand David; Elegie by Jacques Hetu; and Interferences by Roger Boutry. My third recital featured: Cello Suite No.2 in D minor, BWV1008 by Johann Sebastian Bach; Combinaciones: Sonatina para Fagot y Piano by Salvador Ranieri; Andante e Rondo Ungarese Opus 35 by Carl Maria von Weber; and Variations on an Air by Pergolesi for Bassoon and Piano by Otmar Nussio.