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Carr, Laura. "Cleopatra: Perceptions and Reality." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/asrf/2018/schedule/118.
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Although Cleopatra is best known for her reported beauty, her influence went well beyond her outward appearance in Egyptian and Roman society. Cleopatra was a bright woman and used her beauty as a mechanism to profoundly affect those around her without arousing too much suspicion. In a time when it was uncommon and unpopular to have a woman in a position of such power, Cleopatra used her cunning to manipulate situations to her favor so that she could keep her power. In the pursuit of constructing a historical analysis of the perceptions of Cleopatra, this research addresses the ways in which Cleopatra has been portrayed and then provides a clear compare and contrast of that with how she actually lived and conducted herself. This study utilized a historical design, and ultimately textual analysis, to answer the research question. To facilitate the research on the topic of the political influences of Cleopatra, it is necessary to find and analyze both primary and secondary sources. Sources of this type are imperative in historical research in order to triangulate information. Primary sources for this topic consist of writings authored by individuals who were familiar with Cleopatra and her actions as a ruler. These primary sources ended up being primarily from Roman authors as they were more prolific writers than people from other areas. Secondary sources were also utilized in order to incorporate other scholar's writings and conclusions about Cleopatra and the people around her. These documents help to elucidate findings from researchers of Cleopatra and provide insight into her relationships and interactions with others. Amassing and analyzing these two types of sources together ultimately helped form a clearer picture of what evidence exists about Cleopatra and her life. This research is not yet completed, however, based on what information has been gathered so far, the expected outcome is the conclusion that Cleopatra was definitely not exactly what people in her time or currently have perceived her to be. Cleopatra, like any historical figure, is not two-dimensional; she is quite complex, in fact. From what has been gathered thus far, it has been easy to see that individuals who wrote about her around her lifetime had some interesting variations in what they believed to be true about her. From analyzing many of the similarities and differences that exist in these writings, it seems to be logical to expect that the Cleopatra was not all that her contemporaries have made her out to be and, in fact, was a bit more clever than any of them wished to give her credit for. It also initially appears that Cleopatra’s role in the events that transpired with the men in her life was not just a passive one but a very active, influential one.
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Wenzel, Diana. "Kleopatra im Film eine Königin Ägyptens als Sinnbild für orientalische Kultur /." Remscheid : Gardez, 2005. http://catalog.hathitrust.org/api/volumes/oclc/60744477.html.
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Barrera, Gutierrez Olivia. "Cleopatra y Antonio: a Critical Study and a Creative Writing Project based on Shakespeare's Anthony and Cleopatra (1623)." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584016082083613.
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Gotschalk, Kelly J. "The Seated Cleopatra in Nineteenth Century American Sculpture." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4350.
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This thesis explores Cleopatra as presented in the work of three nineteenth century American sculptors: Thomas Ridgeway Gould, Edmonia Lewis and William Wetmore Story. It illuminates their work in the context of the nineteenth century and within the history of Cleopatra's image. Victorian opinions of Cleopatra's nature are exposed by examining the Egyptian Queen in essays and literature of the period, including works by Anna Jameson, Emily Dickinson, Charlotte Bronte, Nathaniel Hawthorne and Theophile Gautier. By studying the role of Cleopatra in these literary examples, the notion of some recent scholars of Cleopatra as a feminist symbol is dispelled and a light shed on a deeper interpretation. Cleopatra's ethnicity is taken into consideration against the political climate of the United States before and after the Civil War. Eroticization of the female body through an association with the Orient is examined against the contemporaneous American Suffrage movement. The role that complexion and hair coloring has sometimes played in the temperament of female heroines is explored through the work of Edgar Allen Poe, Hawthorne and Gautier, as is the female "sexual monster" returned from the grave in the work of Bram Stoker and Poe. Strong willed women and their tendency towards "indirect suicide" is investigated through the writing of Edith Wharton, Kate Chopin and Henry James. These diverse factors and events are taken into account in order to reveal the significance of Cleopatra and her legendary sexuality and suicide to the Victorian artist and audience.
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Berg, Ingrid. "Händel, Cleopatra och jag : en musikdramatisk tolkning tar form." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1727.
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Från notbild till kropp och intuition. Det uttrycket är essensen av detta examensarbete. Jag kommer att beskriva mitt instuderings- och fördjupningsarbete med rollkaraktären Cleopatra ur Händels opera Julius Caesar och tre av hennes arior. När man interpreterar operaarior har man mycket att förhålla sig till, den egna personliga tolkningen utvecklas och formas i flera steg. Denna kreativa process kommer jag att undersöka och dokumentera i denna text. Framförallt kommer jag att försöka få en djupare insikt i vem Cleopatra var som historisk person. Jag kan redan på förhand säga att hennes och mina livserfarenheter ter sig väldigt annorlunda. Just därför vill jag sätta mig in i och reflektera över hennes livsöde. Jag tror att det kommer att berika min gestaltning av henne i de tre ariorna ur operan. En annan infallsvinkel som jag kommer att vidröra är barocksång och formen för en barockaria.Bilaga: 1 CD
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Arshad, Y. "Imagining Cleopatra : performing gender and power in early modern England." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1505746/.
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Cleopatra VII, Queen of Egypt, is one of the most renowned and enduring figures from antiquity, yet remains one of its most elusive. She has become part of a Western founding myth of Eastern otherness, and many of these perceptions of her as a mesmerising and mercurial siren are mediated through Shakespeare's dramatic creation. There was, however, already a great interest in Cleopatra and her story in the sixteenth century well before Shakespeare wrote his play, and views of her were strongly conflicted and multi-faceted. Although she was condemned as an example of lust and luxury, there was also fascination with the legend of her drinking a priceless pearl, and admiration of her courage and nobility in following Antony in death. This thesis investigates images of Cleopatra in the early modern period and looks at how her story was transmitted and used in different circumstances. It combines a close reading of literary and dramatic works with historical and topical contexts, and considers evidence from material objects too. It looks at the representation of Cleopatra in the innovative neo-Senecan dramas of Mary Sidney and Samuel Daniel, their use of political allegory, and how their Cleopatras inflected Shakespeare's. The thesis also investigates a remarkable portrait of a Jacobean lady, plausibly Lady Anne Clifford, depicted as Cleopatra, with an inscription from Daniel, and discusses what this may add to our understanding of female performance and tragic heroism in the period. Insights gained from a recent UCL staging of Daniel's Cleopatra help to gauge the 'infinite variety' of early modern Cleopatras who emerged from centuries of myth-making about the Egyptian Queen. The thesis offers a new approach to the study of how Elizabethan and Jacobean political and dramatic cultures overlapped, by tracing the representation and reception of a single, catalytic figure.
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González, Zúñiga Marcelo. "Far More Female. La Cleopatra de Shakespeare: Culminación y crisis del renacimiento inglés." Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/108928.
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En el curso de esta investigación se intentará demostrar que el personaje de Cleopatra en la obra The Tragedy of Antony and Cleopatra, de 1606-7, recoge y proyecta todos estos aspectos mencionados con anterioridad, para dar vida a una mujer incomparable a la vez que controvertida en la que, básicamente, entran en conflicto dos poderosas corrientes: el paganismo y el idealismo apolíneo platónico.
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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.
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Passe, Alison. "The figure of Cleopatra in early modern English and French drama (1553-1635)." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=236420.
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This thesis explores the figure of Cleopatra in Early Modern English and French tragedy from 1553 to 1635 in the plays of Jodelle, Garnier, Montreux, Sidney, Daniel, Shakespeare, May, Mairet, and Benserade. There has been a dearth of full length studies investigating the figure of Cleopatra, to date only Mathilde Lamy's 2012 thesis has tackled the topic in depth. This thesis considers dramatic tradition, poetics, and contemporary events in order to trace the influences on the development of the figure of Cleopatra. The thesis examines, the authors, their plays, and performance as well as Early Modern English and French poetics before engaging more deeply with the figure of Cleopatra. The characterisation of the figure of Cleopatra is considered together with the notion of exemplarity. Her representation is framed through a discussion of the 'other' in Early Modern thought. Finally a consideration of the politics of speech in the Cleopatra plays links the plays firmly to the external circumstances surrounding their writing. The examination of all of these areas allows for the conclusion that the figure of Cleopatra while influenced by the nationality of the author and the attendant socio-political events, is more strongly effected by differences in poetics and dramatic tradition. The application of this mode of study, considering the changes in a single literary figure across multiple texts, through the lens of poetics, genre, and contemporary events allows not only for the detailed study of a single figure but also allows for some conclusions to be suggested about the changes taking place in literature as a whole throughout the period under consideration.
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Davison, Katherine Anne. "He has given example for our flight Antony's cartographic exit from 'Antony and Cleopatra' /." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/davison/DavisonK0510.pdf.
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This project begins with the observation that mapping culture in Early Modern England underwent explosive changes that profoundly effected the spatial perspectives of individuals. In order to understand the extent of such effects, this thesis examines the resonance between maps and theater in Early Modern England using Shakespeare's Antony of Antony and Cleopatra as a model for how individuals may have responded to maps in Early Modern England. The subject of conflicting spatial desires, Antony and his very body become a site of tension and resistance both within the play and upon the stage. As such, this project argues that Antony's body in Antony and Cleopatra demonstrates not only an Early Modern English anxiety regarding mapped space, but also a method of resistance to mapped space for Early Modern audiences.
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Kendall, Allen Alexander. ""Queen of Kings": Masculinity and Femininity in the Visual Rhetoric of Cleopatra VII and Augustan Distortions Thereof." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7553.
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To address every aspect in which Cleopatra VII asserted her right to rule and maintain the favor of her own subjects and of Rome would be far too large a task for anything less than a book-length treatment. Rather than attempt to address multiple issues, this thesis addresses just one aspect of Cleopatra's political strategy to visualize her legitimacy as ruler: namely a combination of masculine and feminine elements in her iconography. This thesis will then follow the same themes in elements of Cleopatra's visual rhetoric was seized upon by the poets of Augustan Rome, who used it to the opposite effect, making her out to be unfit to rule. In the case of Cleopatra's visual rhetoric, the emphasis shifts in different periods, as Cleopatra adapted her rhetorical strategy to her personal circumstances and her intended audience, at times emphasizing certain masculine elements and at other times focusing on feminine. The Roman authors, on the other hand, see Cleopatra's status in ruler as a usurpation of the masculine rule and therefore monstrous and unspeakable. In order to take the queen and fit her into a Roman world view, they make use of various types of women customary to Classical literature to confine her to a role appropriate”from their perspective"for a woman. In every case, however, gender is used to demonstrate Cleopatra's legitimacy, or perceived lack thereof.
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Kiernan, Pauline Fredrica. "Shakespeare's 'defence of drama' : the challenge to poetry and history with special reference to Antony and Cleopatra." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315869.
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Movshovich, Evgenia [Verfasser], Cleopatra [Gutachter] Charalampaki, and Philipp Jörg [Gutachter] Slotty. "Klassifizierung der Meningeome in der Neurochirurgie anhand der konfokalen Laserendomikroskopie / Evgenia Movshovich ; Gutachter: Cleopatra Charalampaki, Philipp Jörg Slotty." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2018. http://d-nb.info/1170953670/34.
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Mezghanni, Miriam. "Unsettling heroines : towards a cognitive poetics exploration of power dynamics (Ophelia, Lady Macbeth, Desdemona and Cleopatra as case studies)." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30015.
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L’argument de cette recherche propose d’étudier le concept du pouvoir et ses manifestations chez les héroïnes tragiques de Shakespeare Ophélie, Desdémone, Lady Macbeth, et Cléopâtre. Cette étude suit deux axes d’interprétation, la domination et la résistance qui constituent le pouvoir féminin à travers ses productions verbales et ses projections mentales. Ces aspects sont explorés à travers une théorie de poétique cognitive et d'analyse de conversation. En parallèle, les théories critiques vont compléter la discussion des résultats trouvés. Ce travail explore comment les héroïnes tragiques de Shakespeare mènent leur propre résistance et exercent une contre-force à un poly-système patriarcal basé sur un héritage de séparation de genre. Ces personnages brossent un portrait distinctif d'héroïsme tragique féminin ; une voix indépendante et vibrante dans le texte shakespearienThe Shakespearean tragic heroines are a polemical topic. Critics are divided between a reading that describes them as complex and dynamic protagonists and a reading that sees their presence as ornamental and paper-thin in the Shakespearean dramatic tradition. This study examines tenets of power within four major tragic figures, Ophelia, Desdemona, Lady Macbeth, and Cleopatra. Conversation analysis and disciplines from cognitive poetics, text world theory and conceptual metaphor analysis, will be used to study these characters’ utterances and thoughts. The research shows that Ophelia, Desdemona, Lady Macbeth, and Cleopatra are actively involved in power relations. They manifest dominance, exercise resistance, and sow dissidence within masculine narratives of authority. The conclusion can also be drawn that the Shakespearean tragic heroine succeeds in breaking through patriarchal embargo, embraces power, and inaugurates a distinctive concept of female heroism
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Falcón, Díaz-Aguado Laia. "La representación de la mujer con poder en las artes y la ficción : Cleopatra : un ejemplo para al análisis intertextual." Paris 3, 2008. http://www.theses.fr/2008PA030143.
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Certains personnages, habituellement éloignés des questions importantes de notre vie quotidienne, acquièrent cependant une présence très puissante dans les narrations et les images artistiques que nous choisissons pour accompagner notre vie. En apparence, certains d’entre eux ne sembleraient pas représenter une partie importante de notre hérédité philosophique, culturelle ou politique, cependant ils s'installent fortement dans l’imaginaire collectif en faisant que, d’une génération à l’autre, nous les choisissons comme les porteurs des énoncés qui nous définissent comme des individus et des groupes sociaux. Cette investigation s’est interrogée sur ces processus et a été réalisée par la coordination de deux champs disciplinaires : les études de la Communication et la Sociologie de l'Art. Ainsi nous partons d'un double intérêt autour de ce type de personnages évoqués par l'art : approfondir l'analyse de sa construction textuelle et analyser la relation entre ces traits que l'auteur définit pour le personnage et ceux du groupe social spécifique pour lequel il l'a créé. Orientés par cette double recherche, nous choisissons un type de personnage dont l'analyse nous semblait spécialement intéressante et nécessaire : nous considérons que les personnages qui représentent la femme avec un fort pouvoir social et politique constituent un corpus très important qui réclame l'investigation coordonnée des différentes Sciences Sociales. Afin de poursuivre cet objectif, nous décidons de choisir un motif constant représentatif de ce type de personnage et d’analyser et comparer les traits et les discours écrits à son propos par les différents groupes sociaux qui l’ont représenté artistiquement. L'exemple qui nous a semblé le plus adéquat a été Cléopâtre VII : la dernière représentante de l'Égypte pharaonique et l'un des personnages féminins les plus cités, tant dans l’historique des femmes gouvernantes que dans l’imaginaire artistique et populaireThere are certain characters that, even if they are not strongly linked to our day by day’s issues, obtain an extraordinary presence in our shared narrations and artistic images. They may not seem to represent important elements of our philosophical, cultural or political heritage, but they still play a key role in our collective references: we choose them, from generation to generation, as vehicles of our individual and social identities. During these last years as doctoral researcher at the universities Sorbonne Nouvelle and Complutense, I have studied these cultural processes through a singular case: “The cultural representation of the woman in power in Art and Fiction’s characters. Cleopatra: an example for the intertextual analysis. ” This research has been carried out through the coordination of two disciplinary fields -Communication Sciences and Sociology of Art- and has focalised on the analysis of a very specific sort of character: the cultural portraits of female social leaders made by art and fiction. With this purpose, we have chosen a single example to analyse it in its different historical, aesthetic and artistic representations: Cleopatra VII, the last leader of the Ancient Egypt and certainly one of the most popular historic feminine motives among artists and audiences
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Mngomezulu, Thulisile Fortunate. "Central women characters and their influence in Shakespeare, with particular reference to the Merchant of Venice, Macbeth, Julius Caesar and Antony and Cleopatra." Thesis, University of Zululand, 2009. http://hdl.handle.net/10530/1114.
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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Arts in the Department of English at the University of Zululand, South Africa, 2009.Shakespeare portrayed women in his plays as people who should be valued. This is an opinion I held in the past, and one I still hold after intense reading of his works and that of authors such as Marlowe, Webster, Thomas Kyd and others. Shakespeare created his female characters out of a mixture of good and evil. When they interact with others, either the best or the worst in them is brought out: extreme evil in some cases and perfect goodness in others. I hope the reader will enjoy this study as much as I did, and that it will enhance their reading of Shakespeare‟s works and cultivate their interest in him. This study is intended to motivate other people to change their view that Shakespeare‟s works are inaccessible. Those who hold this view will come to know that anyone anywhere can read, understand and appreciate the works of this the greatest writer of all times. In his study Shakespeare’s World, Johanyak says, “I wrote [it] to help students appreciate the depth and breadth of Shakespeare‟s global awareness. Shakespeare was not only a London playwright, but a man of the world who dramatized his perceptions to create a lasting legacy of his times” (2004: ix).
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Giacomo, Luiz Henrique Souza de. "A \'restauração republicana\' de Augusto: discurso romano, alteridade oriental e teatrocracia política." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-17092015-143549/.
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O presente exercício reflexivo visa fazer uma análise do papel político desempenhado por César Augusto durante a construção, a consolidação e a legitimação do sistema político do Principado romano. Tomaremos como base analítica os discursos e as ações de Augusto na cena política romana em prol da restauração da República. Para tanto, propomo-nos abordar o modo como o príncipe se apropriou da artimanha de construção dos estereótipos de seus rivais, Marco Antônio e Cleópatra, no intuito de elevar sua própria posição na cena política romana. A forma como ele se utilizou de discursos do eu e do outro permeia nosso olhar, sobretudo com relação ao mundo oriental que serviu como elemento num plano discursivo e prático de difamação de seus rivais e de apresentação deles como uma ameaça à República romana, a qual ele pretendia salvaguardar e elevar aos melhores tempos.This reflective exercise aims to analyze the political role performed by Caesar Augustus during the construction, consolidation and the legitimacy of the political system of the Roman Principality. We will take as analytical basis the discourses and actions of Augustus in the Roman political scene on behalf of restoration of the Republic. Therefore, we propose to board the way how the Prince appropriated the trick of construction of stereotypes of his rivals, Marc Antony and Cleopatra, in order to raise his own position in the Roman political scene. The way he used speeches of me and other permeates our gaze, especially concerning the Eastern world that served as an element in a discursive and practical plan to defamation his rivals and their presentation as a threat to the Roman Republic, which he intended to safeguard and raise the best times.
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Culpepper, Abigail. "Towards an Ethic of the Lyric: Taking on the Other in “La Mort de Cleopatre” by Marie Krysinska." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564684012184959.
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Ferreira, Regiane Maria. "O silenciamento de uma rainha: uma leitura feminista da Cléopatra Shakespeariana em Antônio e Cleópatra." Universidade Estadual de Ponta Grossa, 2018. http://tede2.uepg.br/jspui/handle/prefix/2696.
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Regiane Maria Ferreira.pdf: 1382801 bytes, checksum: 6d677e93533da0d290a3fd1ea88e33c3 (MD5)Made available in DSpace on 2018-11-28T18:33:50Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Regiane Maria Ferreira.pdf: 1382801 bytes, checksum: 6d677e93533da0d290a3fd1ea88e33c3 (MD5) Previous issue date: 2018-10-01
A presente dissertação aborda questões de gênero discutidas em um estudo da peça Antônio e Cleópatra, produzida por William Shakespeare (1606), com a tradução da estudiosa e crítica de teatro Barbara Heliodora (2001). Esta pesquisa teve como foco central analisar a composição da personagem feminina em Shakespeare: Cleópatra, que se apresentou ora silenciada, ora extremamente sexualizada. Pretendeu-se destacar este silenciamento vivenciado pela rainha, pois se acredita que silenciar não é o mesmo que deixar de falar (Kuhner, 1998), com isso buscou-se compreender qual o espaço destinado a rainha na peça. A escolha deste tema justifica-se por meio de reflexões em que na literatura a personagem feminina foi por muito tempo retratada por autores homens e em uma sociedade patriarcal, o que colaborava para que diversas vezes as personagens femininas fossem subjugadas e colocadas de lado em relação à figura masculina. Para tanto, observa-se que apesar de a maioria das Cenas ocorrerem no Egito, Cleópatra foi apresentada como uma co-protagonista (HELIODORA, 2001) em seu próprio território. Com foco nos estudos voltados para a crítica feminista embasada principalmente na leitura da teoria feminista, buscou-se compreender a Cleópatra shakespeariana, sexualizada e silenciada, refletindo acerca do papel da mulher no Antigo Egito e no Renascimento, como suporte teórico fez-se uso de Heliodora (2001), Branco e Brandão (1989), Culler (1997), Scott (1999), Butler (2016), Bloom (1998), Bradley (2009), entre outros autores.
This dissertation approachcs gender issues that discuss in the play Antony and Cleopatra, produced by William Shakespeare (1606), through the translation of the scholar and drama critic Barbara Heliodora (2001). This study focused on analyze the composition of the female character in Shakespeare: Cleopatra, at time silenced, at others extremely sexualized. It is intended to emphasize this silencing process experienced by the queen, because it is believe that silence does not mean the absense of speaking (Kuhner, 1998), based on this aspect to understand what is the space reserved for the queen. The choice of this theme is justified through the reflections according in which in the literature the female character was for a long time portrayed by male authors and in a patriarchal society, factors that collaborated to the recurrent depiction of female characters as subjugated and put in a secondary role in comparison to the male characters. In this specific play, it is observed that although most of the Scenes take place in Egypt, Cleopatra is presented as a co-protagonist (HELIODORA, 2001) in her own territory. Focused on studies presents in the feminist criticism based mainly on feminist reading, of this dissertation is to understand the Shakespearean Cleopatra, sexualized and silenced, reflecting on the role of women in Ancient Egypt and the Renaissance. Theoretical perspections include made use of Heliodora (2001), Branco and Brandão (1989), Culler (1997), Scott (1999), Butler (2016), Bloom (1998) and Bradley (2009) among other authors.
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Demba, Walter da Gloria Pimenta. "Conservação de sementes de porta-enxertos de citros em função dos teores de água das sementes e do ambiente de armazenamento." Universidade Federal de Viçosa, 2013. http://locus.ufv.br/handle/123456789/4592.
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Previous issue date: 2013-03-25The conservation of Citrus seeds is one of the biggest problems faced by seedling producers due to low seed longevity of this species, which lose viability quickly, compromising the availability of viable seeds during sowing. Thus, the domain of seed conservation techniques is of great importance for the Brazilian citrus production systems, allowing the preservation and maintenance of genetic and buffer stocks to meet unpredictable needs. In this sense, this study aimed evaluates the quality of Rangpur lime, 'Cleopatra' mandarin and Swingle citrumelo seeds stored with different water contents in two environmental conditions. The seeds were harvested in the orchard of the Fruit Sector of the Department of Plant Science at UFV. After extraction, the seeds went through the process of degumming, being rubbed with lime and then washed in water to remove the mucilage. Drying was performed in the shade and in plastic trays for 6 days to obtain the desired moisture contents, which were 35%, 15% and 7%. Subsequently, the seeds were treated with the fungicide Captan 2 g/kg. Then the seeds were placed in hermetic containers, stored at room temperature and under refrigeration for 360 days. Every 90 days, i.e., to 0 (after harvest), 90, 180, 270 and 360 days were conducted the moisture content and germination tests. Regardless of the degree of humidity, was markedly decreased of seeds quality of all varieties stored at room temperature. Seeds of Rangpur lime with water content of 7% maintained high quality physiological stored in refrigerator for 360 days, which did not occur in room temperature storage, where viability was lost from 180 days.
A conservação de sementes dos Citrus é um dos maiores problemas enfrentados pelos viveiristas, devido à sua baixa longevidade, perdendo rapidamente a viabilidade e comprometendo a disponibilidade de sementes viáveis por ocasião da semeadura. Assim, o domínio de técnicas de conservação das sementes é de grande importância para a citricultura brasileira, permitindo a preservação de estoques genéticos e a manutenção de estoques reguladores, para atendimento de necessidades imprevisíveis. Nesse sentido, o objetivo deste trabalho foi avaliar a qualidade das sementes de limão 'Cravo', tangerina 'Cleópatra' e citrumelo 'Swingle' armazenadas com diferentes teores de água em duas condições de ambiente. As sementes foram colhidas no pomar do Setor da Fruticultura do Departamento de Fitotecnia da Universidade Federal de Viçosa. Após a extração, as sementes passaram pelo processo de degomagem, sendo friccionadas com cal e depois lavadas em água corrente, para a retirada da mucilagem. A secagem foi realizada à sombra durante seis dias, para obtenção dos teores de água desejados, que foram 35%, 15% e 7%. Posteriormente, as sementes foram tratadas com o fungicida Captan 2 g/kg e, em seguida, acondicionadas em embalagens impermeáveis, armazenadas por 360 dias em temperatura ambiente e em ambiente refrigerado. A cada 90 dias, ou seja, a 0 (após a colheita), 90, 180, 270 e 360 dias, foram realizadas avaliações do grau de umidade, da germinação, do comprimento da parte aérea e das raízes e da massa seca das plântulas. Independentemente do grau de umidade, houve redução acentuada da qualidade fisiológica das sementes armazenadas em temperatura ambiente. Sementes de limão 'Cravo' com teor de água de 7% mantiveram alta qualidade fisiológica quando armazenadas em geladeira por 360 dias, e sementes de tangerina 'Cleópatra' armazenadas em ambiente refrigerado apresentaram qualidade fisiológica até os 270 dias, não sendo aconselhável o armazenamento das sementes de citrumelo 'Swingle' em temperatura ambiente após 90 dias.
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Lavallée, Corinne. "Gynaecia Cleopatrae : la gynécologie de Cléopâtre." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40347.
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Gynaecia Cleopatrae, ou « La gynécologie de Cléopâtre » est une édition critique et une traduction en français d’un traité de gynécologie attribué à la reine Cléopâtre dont la composition remonterait au IVe siècle de notre ère en Afrique du Nord. Le texte est accompagné d’une introduction dont l’objectif est de placer le Gynaecia dans le contexte de la création de matériel gynécologique par les trois grandes écoles de médecines grecques, l’adaptation et la transmission des traités de gynécologie durant l’Antiquité et au Moyen Âge, ainsi que dans le contexte d’une tradition littéraire déjà existante associée à Cléopâtre. Les méthodes et les choix de l’édition et la traduction du Gynaecia sont aussi abordés, comme il se doit, dans l’introduction.
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Kilpatrick, Hannah. "The Untouchable Past and the Incomprehensible Present: Temporal Detachment and the Shaping of History in the Fineshade Manuscript." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20472.
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This thesis undertakes a close study of a single manuscript of the early 1320s, written at the priory of Fineshade, Northamptonshire. The manuscript contains a short chronicle and several documents related to the failed baronial rebellion of 1321-22. I argue that, in collaboration with the priory’s patrons, the Engayne family, the chronicler responds to the current situation with an attempt to create meaning from a time of crisis. In the process, he attempts to shape his material through patterns of style and thought inherited from both chronicle and hagiographical traditions, to make the present conform to the known and understood shape of the past. His success is limited by his inability to establish sufficient distance from traumatic events, a difficulty that many chroniclers seemed to encounter when they attempted to turn current events into meaningful historical narrative.
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Izquierdo, Zandalinas Sara. "Plant strategies to deal with a combination of drought and high temperatures." Doctoral thesis, Universitat Jaume I, 2016. http://hdl.handle.net/10803/398395.
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En condiciones naturales distintos estreses abióticos, como la sequía y las altas temperaturas, ocurren simultáneamente. El Capítulo 1 demuestra que citrange Carrizo es más tolerante a la combinación de estos estreses que el mandarino Cleopatra. El perfil hormonal indica que el contenido de la hormona ABA depende de su biosíntesis, catabolismo y/o conjugación. El Capítulo 2 estudia el metabolismo primario y secundario de ambos genotipos en condiciones de sequía, altas temperaturas y su combinación. Mientras que Cleopatra altera más marcadamente su metabolismo con el fin de mitigar el daño causado por los estreses, la mayor tolerancia de Carrizo a estos factores da lugar a una menor alteración del mismo. Finalmente, el Capítulo 3 concluye que el ABA es necesario para la tolerancia a esta combinación de estreses y para la acumulación de proteínas (APX1, MBF1c y HSP101) implicadas en la aclimatación de las plantas a condiciones adversas.In natural environments, different abiotic stresses, including drought and high temperatures, simultaneously occur. Chapter 1 demonstrates that Carrizo citrange is more tolerant to the combination of these stresses than Cleopatra mandarin. Hormonal profile indicates that ABA content depends on its biosynthesis, catabolism and/or conjugation. Chapter 2 studies the primary and secondary metabolism of both citrus genotypes under drought, heat or their combination. Whereas Cleopatra deeply alters its metabolism in order to mitigate stress damages, the higher ability of Carrizo to tolerate adverse situations prevents further modifications of metabolism. Finally, Chapter 3 concludes that ABA is necessary for plant tolerance to this combined situation as well as for the accumulation of proteins (APX1, MBF1c and HSP101) required for plant acclimation to environmental adverse conditions.
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Ashton, Anne M. "Interpreting breast iconography in Italian art, 1250-1600." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2675.
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The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.
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Caria, Thamis Malena Marciano. "Cleópatra do Museu D. João VI: a trajetória de uma obra." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/5632.
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Nosso objetivo nesta dissertação é verificar a trajetória da obra Cleópatra que pertenceu a Coleção Le Gros até 1859, passando para Academia Imperial de Belas Artes em 1860, por compra ou doação, integrando a coleção do Museu Nacional de Belas Artes e finalmente sendo destinada ao acervo do Museu D. João VI tendo como data de incorporação o ano de 1979. Trataremos da possibilidade desta obra ser uma cópia utilizando como modelo de uma pintura do artista genovês Bartolomeo Biscaino (1632-1657) a partir da comparação de algumas de suas pinturas com a obra em questão. Aqui também será discutido como a arte Italiana do século XVII representava e idealizava a personagem Cleópatra, e do mesmo modo será analisada a possível função da obra Cleópatra dentro da Antiga Academia Imperial de Belas Artes (AIBA) do Rio de Janeiro. Por ter pertencido, a obra, à coleção privada do colecionador J. G. Le Gros (João Guilherme Le Gros ou Legros) e integrado os catálogos das Exposições Gerais de Belas Artes (EGBA) de 1859, 1860, 1863, 1866, 1889, 1890, 1891 e o Pequeno Catálogo de Bens da ENBA de 1957, nos aprofundaremos na história deste colecionador, sobre a prática do colecionismo no Rio de Janeiro do século XIX e faremos uma análise da sua coleção, a fim de compreender o seu gosto pela arte.
Our intention in this dissertation is to research the trajectory of the painting Cleopatra that belonged to Le Gros Collection until 1859; moving to Academia Imperial de Belas Artes (Imperial Academy of Fine Arts) in 1860, by purchase or donation, integrating the Museu Nacional de Belas Artes and finally being destined to the collection Museum D. João VI, having as incorporation date of the year 1979. We argue the possibility of this work being a copy using a model based on Genoese artist Bartolomeo Biscaino (1632-1657) from the comparison of some of his paintings with the work in question. Here it will also be discussed how the Italian art of the seventeenth century represented and idealized character Cleopatra. Likewise it will be analyzed the possible function of the Cleopatra painting within the Academia Imperial de Belas Arters (AIBA) in Rio de Janeiro. By having the canvas belonged to the private collection of the J.G. Le Gros (João Guilherme Le Gros or Legros), and integrated the catalog of Exposições Gerais de Belas Artes (EGBA) from 1859, 1860, 1863, 1866, 1889, 1890, 1891 and the Pequeno Catálogo de Bens da ENBA de 1957, we will research the history of this collector and the practice of collecting in Rio de Janeiro in nineteenth century. We will also do an analysis of his collection in order to understand his taste for art.
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Martin, Maria A. "Underestimated Influences: North Africa in Classical Antiquity." University of Toledo / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1301936096.
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Woodall, Richardine G. ""Not know me yet?" the metamorphosis of Cleopatra /." 2004. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99261.
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Thesis (Ph. D.)--York University, 2004. Graduate Programme in English.Typescript. Includes bibliographical references (leaves 353-399). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99261.
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Chen, Grace, and 陳惠雯. "Subjectivity Effects in Shakespeare's Antony and Cleopatra." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/68185244170654396212.
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碩士國立臺灣師範大學
英語研究所
89
Abstract This thesis is aimed at demonstrating Cleopatra’s elusive subjectivity effects in Shakespeare’s Antony and Cleopatra. Cleopatra’s infinite variety permanently capacitates her to generate multiple becomings iridescently and synthesize different contextualities fluidly. Correspondent with her dynamic subjectivity effects, Cleopatra’s gender is perpetually in fluid construction and evades fixity. Her gender is constituted by various performativity and is thus open to new signification and contextualization. In addition, her multifarious masquerades alternate between femininity and masculinity because she may put on female masquerade to conceal her compulsory rivalry with men and appropriate their masculinity after she obtains their dotage. In Chapter one, I present my main argument that Cleopatra’s infinite variety generates elusive subjectivity effects which permeate throughout this play. Her fluid and multiple subjectivity effects can be seen in her performativity and masquerade, which fully demonstrate her elusive gender. Therefore fluidity and multiplicity form the interrelation between her subjectivity and gender. Through the investigation of her gender and subjectivity, I demonstrate that Cleopatra is forever the woman who dominates Antony’s desire and keeps exerting her elusiveness. In Chapter Two, I introduce Jane Flax’s theory of elusive subject(s) and analyze the two determinants of elusive subjectivity effects: multiplicity and fluidity. I use the conception of metamorphosis from Ovid to expound the sense of fluidity in the constitution of subjectivity. Then I examine Cleopatra’s subjectivity effects from Flax’s theory of elusive subject(s). Cleopatra’s multiple and fluid subjectivity effects collide rigid categorization, subsume amplitude, beget fecundity and replicate Isis’ multitudinousness. In addition, through the interaction with her evasive subjectivity effects, Antony reconstructs his fluid identity. Toward the end of this chapter, I point out that Cleopatra’s infinite variety enables her to assume multiple roles and synthesize varied contextualities so that she may control her situation. By committing suicide, in the final scene, Cleopatra foils Octavius’ scheme of reducing her to the trophy of war. Death thus becomes an “elsewhere” where she can regenerate her elusive subjectivity effects. In Chapter Three, I look into Cleopatra’s elusive gender identity by using Judith Butler’s theory of performativity. At the heart of Butler’s theory is the view that there is no gender ontology but only an endless play of acts and gestures, that is, performativity. Through various gestures, the boy actor who plays the part of Cleopatra elicits a gender parody, subverts gender norms and reveals the insubstantial ground of gender identity. Further I demonstrate that Cleopatra’s performativity disrupts the presumably ontological status of gender. Compared with Cleopatra’s gender, Antony’s gender identity is prescribed by the unitary and rigid Roman system. Only through dissolution of his fixed gendered self can Antony re-constitute his gender identity and vibrate with that of Cleopatra. In Chapter Four I argue that Cleopatra’s capacity to generate multifarious masquerades demonstrates her elusive subjectivity effects. Riviere’s proposition of masquerade facilitates an understanding of how a woman exerts her female mask to seek safety and conceal her compulsory rivalry with men. However Cleopatra’s masquerades go beyond that. When she is reforming and reshaping multiple masquerades, she is also exerting her subjectivity effects--she secures her throne through coquetry, appropriates masculinity and generates a lack in Roman male desire. Moreover, her masquerades alternate between femininity and masculinity, revealing both as constructs. Therefore not only her performativity but masquerade disrupt the presumably ontological status of gender, bespeaking again the elusiveness of gender. Chapter Five recapitulates previous discussion of each chapter and re-states the main argument of this thesis. The interrelation between Cleopatra’s subjectivity effects and gender is inseparable and both are related to her infinite variety. In other words, her infinite variety perpetually regenerates elusive subjectivity effects, which in turn permeate the whole play.
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Hardman, Naomi Susan. "The many faces of Cleopatra : from propaganda to myth." Thesis, 2003. http://hdl.handle.net/10413/3889.
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Few women of antiquity have gripped the public imagination as Cleopatra has. For centuries, she has inspired playwrights, poets, artists and film-makers, with the result that she and Antony are arguably history's most famous lovers. However, I have not yet encountered a study which discusses, in one work, the multiple constructions of Cleopatra across the range of genres in which she has been represented. Certainly, many books and articles are devoted to revealing how Cleopatra has been constructed in one or other specific genre, but it seems as though no attempts have been made to portray, in juxtaposition to one another, the many faces of Cleopatra. This dissertation seeks to do just that. Although I could not possibly include a discussion ofevery genre in which Cleopatra has been constructed, I have chosen six areas for study: ancient Greek biography
(using Plutarch's Life ofAntony); the poetry of the Augustan poets: Vergil (the Aeneid), Horace (Ode 1.37) and Propertius (Elegies 3.11); Shakespearean tragedy (Antony and Cleopatra); art (numismatics
and ancient sculpture); film (Joseph Mankiewicz's Cleopatra), and, briefly, Africanist historiography. I have chosen these areas because each offers such diverse constructions of Cleopatra that one begins to appreciate how historiography, propaganda and representation have contributed to the shaping ofthe Cleopatra myth, coloured by the ideology ofthe age in which she has been interpreted afresh. Current Africanist appropriations ofCleopatra suggest that historiography is never neutral: race and gender often intersect to create 'historical' identities.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.
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Wong, Julia K. W. "Cleopatra I, the first female Ptolemaic regent: her predecessors, policies, and precedents." Thesis, 1998. http://hdl.handle.net/2429/8370.
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The concept of woman-power existing in the highest circles of society in the
Mediterranean world is proven, through a detailed study of the career of Cleopatra I.
Cleopatra I, daughter of the Seleucid king, Antiochus III, wife of the Ptolemaic king,
Ptolemy V, and mother of the Ptolemaic king, Ptolemy VI, became the first female regent
in the Hellenistic period. Her regency was a crucial precedent for her female
descendants, who all became joint co-rulers with their husbands and enjoyed much
greater powers than any other queens before them. The difficulty of this study was in the
lack of sources. Virtually nothing is known about Cleopatra I's career and queenship,
which, as a result, required a thorough discussion of not only her predecessors and their
precedents, but also her own policies and precedents.
The thesis is divided into five chapters and fifteen appendices, the last six
appendices serving as a sourcebook. Chapter One describes in detail the immense
influence of the Ptolemaic ministers and their oligarchic faction at the court, especially
during the reigns of the weaker Ptolemaic kings before Cleopatra I's time, and.
However, as influential as these powerful Ptolemaic ministers were, a strong monarch,
such as Cleopatra I, was able to suppress their large influence on the monarchy. Having
suppressed the influential ministers at the court, Cleopatra I utilised another group of
courtiers. These courtiers, eunuchs, came from her own retinue and are the focus of
Chapter Two. This chapter documents the introduction and institutionalisation of
eunuchs into the Ptolemaic court by Cleopatra I. Much as Cleopatra I's descendants had
to rely on her precedents to gain influence and power at the Ptolemaic court, Chapter
Three looks at Cleopatra I's three most influential and important predecessors, Arsinoe II,
Arsinoe III, and Hatshepsut. These three queens were vital to Cleopatra I’s future
success, since each contributed greatly to Cleopatra I’s acceptance and appointment as
the first female Ptolemaic regent. The last two chapters of the thesis focus on Cleopatra
I. Chapter Four discusses extensively the greater rights and privileges Cleopatra I
enjoyed when viewed as the Pharaoh's Wife. However, even with these increased rights,
Cleopatra I failed to be recognised and acknowledged any differently than her
predecessors had. It is in the last chapter, Chapter Five, that Cleopatra I’s power and
influence at the court become manifest. This chapter discusses in what areas of the
queenship Cleopatra I, during her regency, established new precedents and how her
precedents and policies affected royal women not only in her own Ptolemaic kingdom,
but also all over the Mediterranean.
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Pyn, Shiau Huey, and 蕭慧蘋. "The Study of Four Cleopatra Arias from Giulio Cesare by George Frideric Handel." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/01344265361333183157.
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Broadbent, Valerie. "Augustus, Egypt, and Propaganda." Thesis, 2012. http://hdl.handle.net/10012/6780.
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Augustus was a master of propaganda who employed Ancient and Hellenized Egypt as a means to legitimize his newly acquired power in Rome after the Battle of Actium. This thesis examines the ways in which Augustus moulded the people, imagery and religion of Egypt to suit his political needs. This was accomplished through an examination of the modified imagery of major Egyptian political figures such as Julius Caesar, Mark Antony, and Cleopatra VII. The symbolism of their images was altered to enhance Augustus’ standing in Rome. Augustus’ inspirations were also considered, namely Alexander the Great who became a significant influence for Augustus as was evident through the various similarities in their seal rings, family history, and the nature of both their roles as ‘restorers’ and ‘saviours’. The most predominant source for evidence of Augustus’ use of Egypt was found in his transportation of monumental obelisks from Egypt into the Circus Maximus and the Campus Martius. These monuments served to beautify the city while justifying Augustus’ authority in Rome. A close second to the transportation of the monumental architecture of Egypt was Augustus’ representation of the Battle of Actium upon his coinage. The battle was depicted typically with a tethered crocodile, stalks of wheat, a lituus, and a bareheaded Augustus. These actions augmented the prestige of Rome and presented Augustus as a powerful and reliable leader. In terms of religion, Augustus welcomed the practice of Egyptian cults while protecting the physical presence of Rome’s traditional religious core, the pomerium. This appealed to worshippers of both traditional and foreign cults and further enhanced his favour in Rome. Ultimately, Augustus’ actions served to increase his own prestige and credibility. This allowed Augustus to legitimize the authority of his rule and to initiate the beginnings of a stable Roman empire that would endure through Tiberius’ reign and those to follow.
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Tourki, Mohamed Ali. "The Place of the Gods : Biblical, Tragic, and Humanist Modes in Shakespeare’s Antony and Cleopatra." Thèse, 2013. http://hdl.handle.net/1866/10825.
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Ce mémoire se focalise sur la pièce Antony and Cleopatra de Shakespeare en relation avec la pensée biblique, l’humanisme de la Renaissance et les caractéristiques de la tragédie comme genre littéraire et philosophie grecque. La chute d’Adam et Eve dans la Bible, ainsi que le conflit entre le héros tragique et les dieux, sont deux thèmes qui sont au centre de ce mémoire. Le mythe de la chute d’Adam et Eve sert, en effet, d’un modèle de la chute—et par conséquent, de la tragédie—d’Antoine et Cléopâtre mais aussi de structure pour ce mémoire. Si le premier chapitre parle de paradis, le deuxième évoque le péché originel. Le troisième, quant à lui, aborde une contre-rédemption. Le premier chapitre réfère à l’idée du paradis, ou l’Éden dans la bible, afin d’examiner ce qui est édénique dans Antony and Cleopatra. La fertilité, l’épicuréisme, l’excès dionysien sont tous des éléments qui sont présents dans la conception d’un Éden biblique et Shakespearien. Le deuxième chapitre est une étude sur la tragédie comme genre fondamentalement lié à la pensée religieuse et philosophique des grecs, une pensée qui anime aussi Antony and Cleopatra. Ce chapitre montre, en effet, que les deux protagonistes Shakespeariens, comme les héros tragiques grecs, défient les dieux et le destin, engendrant ainsi leur tragédie (ou ‘chute’, pour continuer avec le mythe d’Adam et Eve). Si le deuxième chapitre cherche à créer des ponts entre la tragédie grecque et la tragédie Shakespearienne, le troisième chapitre montre que le dénouement dans Antony and Cleopatra est bien différent des dénouements dans les tragédies de Sophocle, Euripide, et Eschyle. Examinant la pensée de la Renaissance, surtout la notion d’humanisme, la partie finale du mémoire présente les protagonistes de Shakespeare comme des éternels rebelles, des humanistes déterminés à défier les forces du destin.This thesis focuses on Shakespeare’s Antony and Cleopatra in relation to biblical thought, Renaissance humanism, and tragedy as a literary genre and Greek philosophy. The fall of Adam and Eve as well as the conflict between the tragic hero and the gods are two themes that are at the center of this work. The myth of the fall of Adam and Eve functions as a model for the fall—and thus the tragedy—of Antony and Cleopatra and is also the very structure of this study. If the first chapter talks about heaven, the second evokes the original sin. The third chapter investigates a ‘counter-redemption’. The first chapter refers to the idea of heaven, or Eden in the Bible, in order to examine the idea of Eden in Antony and Cleopatra. Fertility, Epicureanism, and Dionysian excess are all elements that are present in the conception of a biblical and a Shakespearean Eden. The second chapter is a study of tragedy as a genre fundamentally related to ancient Greek religious thought and philosophy—which is also the case in Antony and Cleopatra. This chapter demonstrates that the two Shakespearean protagonists are indeed similar to Greek tragic heroes, constantly defying gods and fate, thus, engendering their own tragedy (or ‘fall’, to continue with the myth of Adam and Eve). If the second chapter seeks to bridge Greek tragedy and Shakespearean drama, the third, however, shows that the ending in Antony and Cleopatra is different from the endings in plays by Sophocles, Euripides, and Aeschylus. Analyzing the philosophy of the Renaissance, especially the notion of humanism, the final chapter of this work introduces Shakespeare’s protagonists as eternal rebels, humanists who are determined to defy the forces of fortune.
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Chell, Andrei Rohan, and 伽安杰. "Factors Associated with Tuberculosis Behavior Beliefs Among Patients at Cleopatra White Health Center in Belize." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/88432945798225307275.
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碩士臺北醫學大學
全球衛生暨發展碩士學位學程
104
Background: About one third of the world’s population has latent tuberculosis (TB). TB still remains a public health concern in many developing countries including Belize. Globally, cases of TB have continued to rise due to the HIV pandemic, an increase in demographic stress, and also poorly managed control programs. The aim of this study is to describe the scope of the TB behavioral beliefs associated factors among patients at the Cleopatra White Health Center in Belize, using a framework comprising of the Health Belief Model and the Theory of Reasoned Action Model. Methods: This is a cross-sectional survey using a structured questionnaire. This study recruited 204 participants. A Tuberculosis Interview Instrument (TII) was used to collect the patients’ socio-demographic, clinical factors and variables from July 2015 to September 2015. The Scientific and Ethics Committee for the Ministry of Health in Belize granted permission for the study to be conducted. A critical level of p=0.05 was used to assess the significance. A multivariate logistic regression model was used to analyze the intention to be screened for tuberculosis and intention to return to have the test read. Results: Out of 204 participants, almost seventy percent aged from 18 to 30 years, with over half of the subjects being females and single. Seventy-six patients were previously screened for TB, in which 53 were negative, 14 positive and 9 did not state their results. Education level was associated with perceived susceptibility (P=0.02) and general normative belief (P=0.01). Participants with higher academic levels tended to have more perceived susceptibility and general normative belief. In addition, participants with age from 31-82 had less negative intention to be screened Purpose of visit was associated with perceived susceptibility (P<0.001), perceived severity (P<0.001), perceived benefits (P<0.001), perceived barriers (P=0.04), general attitude about TB (P<0.001), and general subjective norm (P<0.001). Furthermore, participants outside of the Belize District and those without sufficient knowledge of TB had more negative intention to be screened for TB and more negative intention to return to have their test read after two days. The multivariate logistic regression analysis showed that knowledge about TB was associated with intention to be screened for TB (P=0.03) and general attitude about TB (P=0.04). Intention was positively correlated with susceptibility (r=. 373, P < 0.01), benefits (r=. 357, P<0.01), attitude (r=. 440, P<0.01) and subjective norm (r=. 184, P<0.01). Conclusions: In this study, there were five factors in relation to TB behavior beliefs. Results suggested that patients from the Chest Clinic had better behavioral beliefs than those in the general clinic. Education played a vital role in having better behavioral beliefs about TB. Age was a risk factor for intention to be screened for TB since patients aged from 31-82 had less negative intention to be screened, suggesting that the young and most productive age group is at a higher risk of contracting TB. Both Residence and knowledge were also risk factors since patients outside of the Belize District and patients with no knowledge of TB had more negative intention to be screened for TB and intention to return to have their test read after two days. Lastly, cigarette smoking was also a risk factor for intention to return to have your test read after two days. This suggests that smokers would actually have positive intention to be screened for TB, but would not return to have their test read after two days. In conclusion, the findings of this study can guide the Ministry of Health policies in Belize and may contribute to the reduction of TB prevalence in the general population.
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"A Performance Guide of Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.18000.
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abstract: There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.Dissertation/Thesis
D.M.A. Music 2013
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Chao, Wan-Leng, and 趙宛稜. "The Analysis and Vocal Interpretation of three Cleopatra Arias from Handel’s Opera “Giulio Cesare in Egitto”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88517382826428302348.
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碩士台南應用科技大學
音樂研究所
99
The purpose of this study focused on Handel’s opera‘Giulio Cesare in Egitto, 1724＇which was included three arias, there are “V’adoro, pupille”, “Se pietà di me non senti” and “Piangerò la sorte mia”. By analysis of these arias, the characters of phrase paragraph could be combined with promoting repeated lyrics, abundant changes in tonality and timbre, and emphasizing changes of velocity and strength. Therefore, A’ paragraph of aria da capo use vocal ornament such as appoggiatura and acciaccatura etc. to show various changes. In arias, they use disjunct motion properly to perform graceful melody. Recently, Handel’s opera was renewed attention and aroused a lot of audio data. It can be proved that Handel is not only an oratorio composer but also a more and more popular opera composer.
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SUN, YUAN-CHENG, and 孫元城. "An Analysis on the Interdisciplinary Performance of Peking Opera- A Case Study of Cleopatra and Her Fools." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/m88cgk.
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碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
104
Peking Opera has developed and rooted in Taiwan for more than fifty years, the art form has passed down over the generations, and was successfully listed as one of the UNESCO Intangible Culture Heritage in 2010, showing that this art form with its rich Chinese cultural background and foundation is widely recognized by the world. Peking Opera began its cultural communication with western art forms in the 19th century, leaving its influence on modern theater ideas. The new development can be traced back to 1970s, with the intention of bringing the new energy into this art form and to make it reflect contemporary thinking. This attempt ended up bringing Peking Opera into modern theater. To give Peking Opera a new look and new meaning toward the contemporary audience, the artists in Taiwan assimilate nutrient from the old classics by reorganizing and reinventing them, meanwhile the new plays were created, with some western classics were adapted. The formation and history of Peking Opera was a result of drawing nourishment from different art forms, therefore the attempt of getting new elements in was not new. But the attempt to bring western theater plays into Peking Opera, making intercultural adaption and reproduction is the new stage of the cultural communication between the west and the east. This research is focusing on “Cleopatra and Her Fools”, a new play produced by National Guoguang Opera Company, analyzed with the theory of theater scholar Pavis and cultural critic Edward W. Said. The research is trying to record and conclude how this work was brought to reality on the base of intercultural theory. And last, as a case study of Peking Opera in Taiwan, its attempt to intercultural adaption and reproduction.
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SU, SHIH-HAN, and 蘇詩涵. "An Analysis and Vocal Interpretation of four Cleopatra Arias from the Opera Giulio Cesare by Georg Friedrich Händel." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/mwv89d.
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Roets, Marthie. "Die propaganda in die politiek van Antonius en Cleopatra soos dit tot uiting kom in veral die nie-literere bronne." Thesis, 2014. http://hdl.handle.net/10210/10247.
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Cheng, Elyssa Y. T., and 鄭月婷. "The Idea of History in Shakespeare's Roman Tragedies -- ~u2; Julius Caesar~u1;, ~u2;Antony and Cleopatra~u1;, and ~u2; Coriolanus~u1." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/36867578964155607236.
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HUANG, WEI-TING, and 黃煒婷. "A Study on Crossover Performance of Contemporary Percussion Music: on Cases of “MuLan”, “Cleopatra and Caesar” and “Thank You, My Teacher”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/64zz5n.
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碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
106
Crossover style has become popular among the world since 1980’s. It has seemed that performances with the crossover style have become a fresh tide which influencing the field of the performing arts in Taiwan. From now on, what the artists pursue is not only the perfection in one single field but also make perfection more perfect and experiment much more possibilities through the cooperation with the other types or media. In recent years, the forms of the crossover percussion music performance have provided variety and broken the stereotype for traditional instrumental concert. What the crossover music performers yearn is to combine or mix another art media for experiment the brand new styles or the flesh forms for performing. While the crossover performance study of music has developed, the contemporary interdisciplinary study in percussion is still limited. This study chose three different kinds of percussion performance, Mulan, Cleopatra and Caesar, Thank you, My Teacher, to explore the application and development of the contemporary percussion performance.
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Von, Hahn Brita Bettina. "The characterisation of Mark Antony." Diss., 2009. http://hdl.handle.net/10500/2656.
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This dissertation aims to focus on the way in which Marc Antony has been portrayed in Antiquity by a careful and critical study of what the ancient (mainly literary) sources have to reveal about this historical personage. A number of primary sources present a very negative view of Antony under the influence of various political persuasions, and this will be compared and contrasted with later ancient views. The study will pursue this under key themes such as the personality of Antony, his military and political career as well as the role that he played in the East. Modern scholarly interpretations of Antony’s character and actions will also be brought into the discussion, so that an objective evaluation of the contribution which Antony has made to the history of the Roman Republic, insofar as objectivity is possible, may be arrived at.Language Services
M.A. (with specialisation in Ancient Languages and Cultures)
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Pospíšilová, Denisa Isabella. "Tapiserie a gobelíny ze sbírek Pražského hradu." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-384331.
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Annotation: The work is dedicated to tapestries from Prague Castle collections, hanging in the State Rooms and the ones that are stored in Prague Castle depository. The tapestries always played an important role in decorating the interior and still help to create a festive atmosphere of this place, usually not accessible to the public. The author focuses on detailed identification of three baroque series known as Anthony and Cleopatra and Months of the year. The serie Anthony and Cleopatra dates back to the turn of the 17th and the 18th centuries. Convolutes of the tapestries of the cycle Months of the year (represented at Prague Castle in two ways - figurally and non-figurally) were made at the beginning of the 18th century as well as in the years 1728-1736. The tapestry on the theme of the life of Anthony and Cleopatra consists of eight pieces. Seven of them belong to an elementary part of Prague Castle collection, the eighth is in Vienna. The serie Months of the year has a similar history. It consists of ten pieces, nine of them are situated at Prague Castle, the tenth is again in Vienna. Longstory short, the work is dedicated to baroque tapestries that help to create genius loci of Prague Castle. After a brief introduction providing the informative insight into the issue, the explanation of the history...
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Schrodi-Grimm, Renate. "Die Selbstmörderin als Tugendheldin." Doctoral thesis, 2009. http://hdl.handle.net/11858/00-1735-0000-0006-B4A2-B.
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