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Margarets Monsters: Women, Identity, and the Life of St. Margaret in Medieval England

為了解決Virginal的問題，作者Heyes, Michael E. 這樣論述：

St. Margaret of Antioch was one of the most popular saints in medieval England and, throughout the Middle Ages, the various Lives of St. Margaret functioned as a blueprint for a virginal life and supernatural assistance to pregnant women during the dangerous process of labor. In her narrative, Marga

ret is accosted by various demons and, having defeated each monster in turn, she is taken to the place of her martyrdom where she prays for supernatural boons for her adherents. This book argues that Margaret's monsters are a key element in understanding Margaret's importance to her adherents, speci

fically how the sexual identities of her adherents were constructed and maintained. More broadly, this study offers three major contributions to the field of medieval studies: first, it argues for the utility of a diachronic analysis of Saints' Lives literature in a field dominated by synchronic ana

lyses; second, this diachronic analysis is important to interpreting the intertext of Saints' Lives, not only between different Lives but also different versions of the same Life; and third, the approach further suggests that the most valuable socio-cultural information in hagiographic literature is

found in the auxiliary characters and not in the figure of the saint him/herself. Michael E. Heyes is Assistant Professor of Religion at Lycoming College. He has published within the field of monster studies, film, and medieval studies, and his edited volume - Holy Monsters, Sacred Grotesques: Mo

nstrosity and Religion in Europe and the United States - contains contributions to all three topics. He is a general editor of TheJournal of Gods and Monsters. This is his first monograph.

Virginal進入發燒排行的影片

標題音樂：歷史淵源、美學論辯與實例探討

為了解決Virginal的問題，作者李洺君 這樣論述：

標題音樂（Program Music）是運用音樂表現音樂以外的想法，這樣的樂曲類型在音樂會中受到普遍的歡迎，並在音樂史的發展中扮演重要的角色。該名詞在 19 世紀由李斯特（Franz Liszt, 1811-1886）提出，但從庫瑙（Johann Kuhnau, 1660-1722）、韋瓦第（Antonio Vivaldi, 1678-1741）與貝多芬（Ludwig van Beethoven,1770-1827）的經典作品中，發現標題音樂的構想在被定義前，就已存在於音樂史中。 19 世紀初期，許多音樂家對標題音樂的本質進行了釐清，到了中期，李斯特確認了標題音樂的意涵後，引起

漢斯利克（Eduard Hanslick, 1825-1904）的反彈，造成在音樂美學上的爭論。雖然標題音樂的作品雖然飽受形式主義支持者的批評， 仍舊有不少的追隨者， 如： 華格納（Richard Wagner, 1813-1883）、理查‧史特勞斯（Richard Strauss, 1864-1949） 和民族主義者…等，並產生許多流傳後世的經典作品，如： 史麥塔納（Bedřich Smetana, 1824-1884）《我的祖國》（Má vlast, 1874-79）、穆索斯基（Modest Mussorgsky,1839-1881）《展覽會之畫》（Pictures at an Exhib

ition,1874） …。 本文研究主軸從標題音樂強調的「敘事」與「 描述」特質出發，先從歷史的脈絡中，找尋標題音樂概念運用在樂曲中的蛛絲馬跡，接下來從作曲家的創作想法與相關評論中，了解標題音樂的內涵，最後以 19 世紀末多首著名的標題音樂作品為例，從靈感來源和題材內容進行分析，釐清標題在音樂表現上的關聯與類比性， 並呈現 19 世紀標題音樂的多首實際案例探討。

Aspects of Early English Keyboard Music Before C.1630

為了解決Virginal的問題，作者Smith, David (EDT) 這樣論述：

English keyboard music reached an unsurpassed level of sophistication in the late sixteenth and early seventeenth centuries as organists such as William Byrd and his students took a genre associated with domestic, amateur performance and treated it as seriously as vocal music. This book draws togeth

er important research on the music, its sources and the instruments on which it was played. There are two chapters on instruments: John Koster on the use of harpsichord during the period, and Dominic Gwynn on the construction of Tudor-style organs based on the surviving evidence we have for them. Th

is leads to a section devoted to organ performance practice in a liturgical context, in which John Harper discusses what the use of organs pitched in F may imply about their use in alternation with vocal polyphony, and Magnus Williamson explores improvisational practice in the Tudor period. The next

section is on sources and repertoire, beginning with Frauke J rgensen and Rachelle Taylor's chapter on Clarifica me Pater settings, which grows naturally out of the consideration of improvisation in the previous chapter. The next two contributions focus on two of the most important individual manus

cript sources: Tihomir Popovic challenges assumptions about My Ladye Nevells Booke by reflecting on what the manuscript can tell us about aristocratic culture, and David J. Smith provides a detailed study of the famous Fitzwilliam Virginal Book. The discussion then broadens out into Pieter Dirksen's

consideration of a wider selection of sources relating to John Bull, which in turn connects closely to David Leadbetter's work on Gibbons, lute sources and questions of style. David J. Smith is Founding Professor of Music at Northumbria University, before which he served as Head of Music and Mast

er of Chapel and Ceremonial Music at the University of Aberdeen. He specialises in early keyboard music from England and the Low Countries, and in English instrumental music more generally. As well as writing about the English keyboard music, its sources and instruments, he has edited the keyboard m

usic of Peter Philips (1560/61-1628) for the scholarly series, Musica Britannica, and more recently contributed an edition of consort music by Philips and Richard Dering (c.1580-1630) to the same series, some of which has been recorded by the Rose Consort of Viols. David is co-founder and General Ed

itor of the Ashgate Historical Keyboard Series.

我國司法實務對不實訊息管制之審查研究

為了解決Virginal的問題，作者詹顏吉 這樣論述：

　　本研究在探討：司法實務對於傳述不實訊息之案件，應採如何之裁罰標準。目前國內外有關不實訊息之管制，均面臨與人民言論自由權利衝突的問題。但在網路使用的普及、訊息傳播途徑改變之發展下，不實訊息在人類生活圈流通的現象，已形成一個資訊失序（information disorder）的狀態。為促成良性社會發展，應在兼顧避免造成人民之寒蟬效應（chilling effect）的考量下，保障人民言論自由、建立良好的資訊秩序。而此秩序之建立，不可不重視司法機關判斷標準的一致性。　　本研究首先盤點我國管制不實訊息之法規，並透過其立法目的以瞭解所保護之人民權益價值，進而將相關法規作出保護「人格權」、「民主程序

」、「特殊公共秩序」、「一般公共秩序」之4大分類。再藉由蒐集本土具代表性之實務判決，以此4大類型進行分析。　　分析結果發現，我國司法實務對不實訊息管制之審查，在上述4大類別中，分別有嚴格或中度之不同審查標準，甚至在「事實陳述與意見表達之認定」及「查證行為是否合理之認定」上，不同法院有判斷標準不一致之現象。　　最後，本研究提出司法實務在類此案件之判斷標準的相關建議，並期望在檢察或警察機關這一端就能減少起訴或移送，以減少寒蟬效應的發生，而使人民在言論自由的界限上有更明確之歸依。