Dissertations / Theses on the topic 'Classical History and criticism'
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Chan, Kwok-kou Leonard, and 陳國球. "The reception of Tang poetry in the Ming neo-classical criticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31231081.
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Hanink, Johanna Marie. "Classical tragedy in the age of Macedon : studies in the theatrical discourses of Athens." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609148.
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Buglass, Abigail Kate. "Repetition and internal allusion in Lucretius' 'De Rerum Natura'." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:b20951f7-d299-4c5f-8470-5e67be1340ff.
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This thesis aims to solve the apparent problem of the frequent repetitions in Lucretius' De Rerum Natura (DRN). Verbal repetitions of many different lengths pervade DRN, and are noted in the scholarship. Yet a consensus has not been reached as to their purpose and function, or even if they rightly belong in the text. Multi-linear repetitions are viewed as a temporary stop-gap which Lucretius would have removed or adjusted had he lived long enough to effect it; or as later interpolations; while shorter repetitions are underplayed or even ignored altogether. But repetitions and internal allusions in DRN are part of a purposeful, meaningful didactic and rhetorical strategy, and they form much of the intellectual structure of the poem. These internal connections combine in DRN to form a remarkably complex intratextual network. The thesis argues that repetition is a crucial way in which Lucretius conveys his arguments and persuades the reader to pursue a rational life. Chapter 1 analyses the ways in which Lucretius' epic predecessors used repetition and how Lucretius may have applied these models. Chapter 2 looks at the internal evidence for the alleged unfinished state of the poem and examines the function of long repetitions in DRN. Chapter 3 investigates the rhetorical background to and functions of different kinds of repetition in DRN. Chapter 4 explores the didactic and psychological effects of repetitions and internal allusions. Chapter 5 shows how repetition creates an image of the world Lucretius describes: just as Lucretius tells us that atoms and compounds make up different substances depending on their arrangement in combination, so repetitions perform different functions and produce different outcomes depending on their placement in the text. Throughout the poem, repetition serves again and again to reinforce Lucretius' message, creating argumentative unity, and bringing order from chaos.
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Hemingway, Ben. "The dream in classical Greece : debates and practices." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:d0d272ee-e293-44bf-b8c2-02b68304d22f.
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This thesis aims to address the Greek attitude to their dream experience in the classical period, as it was conceived in theories and engaged with in dream practices. The emphasis is on the relationship between these elements and the wider cultural frames which surrounded them, in order both to illustrate the manner in which culture influences the conception of dreams, and also to use dreams themselves as a mirror to reflect parts of Greek culture. As a study it has been heavily shaped by the approaches to dreams developed by anthropologists, outlined in Chapter 2, who have emphasised the importance of studying dreams intra-culturally. In Chapter 3 I analyse the language that the Greeks used to express their dreaming experience, drawing from it the important way in which language was both determined by, and determined, the Greeks' understanding of the phenomenon. This forms a base for engaging with dream theories in Chapter 4, both the implicit allusions in literature and explicit explanations proposed by philosophers and medical writers. I then explore the theories at work within Greek culture via dreams as we see them active in the lived religion of the polis: I examine in Chapter 5 the dedications set up by individuals on account of spontaneous dreams, and in Chapter 6 the practice of incubation. I then turn to examine specific relationships: in Chapter 7, the association of dreams with status, i.e. the possibility that powerful people would have equally powerful dreams; in Chapter 8, dreams and gender, assessing the possibility that women considered their dreams to be more important than their male counterparts. In Chapter 9, I position dreams within the context of the other divinatory practices of the period, which allows us to see the unique ways in which dream practices functioned in comparison to the other divinatory forms.
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Kelly, Catriona. "Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
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DeJardin, Kathleen Rose. "The accompanied vocalise and its application to selected baroque, classical, Romantic and twentieth century songs and arias." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185928.
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The accompanied vocalise has been a vehicle for voice training since the "golden age of 'bel canto' thinspace". These vocalises or exercises enable the student to concentrate on using pure tone and to develop various aspects of technical skill and musical style. The use of these accompanied vocalises can detect perceived problems or weaknesses before the students encounters them in songs and arias. The pedagogical and instructional value of the selected vocalises are examined for their possible efficacy in strengthening a student's perceived weakness. In order to determine the relevance of these accompanied vocalises, arias of five representative composers have been chosen. These songs and arias are examined to identify bel canto characteristics, some of which may be problematic for students. Passages reflecting these stylistic characteristics are paired with specific vocalises of similar musical construction. For each example, there are excerpts from three different vocalise composers. The examples contain only a few measures, but it is assumed that the repeated practice of the entire composition will further the acquisition of the desired vocal trait. The five bel canto characteristics examined in depth are: agility, long legato phrases, ornamentation, co-ordination of the registers, and strength and control of the tonal range. The vocalises utilized are limited by the availability of printed sources. A compilation of the instructional vocalises examined is provided in an addendum to the study.
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Bradbury, Jonathan David. "Cristóbal Suárez de Figueroa and the Spanish miscellany of the Golden Age." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610074.
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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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Fox, Peta Ann. "Heroes at the gates appeal and value in the Homeric epics from the archaic through the classical period." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002168.
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This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world.
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馮志弘. "北宋古文運動的形成 = The formation of the Northern Song classical prose movement." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/788.
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Sun, Yingying, and 孙莹莹. "Cultivation through classical poetry : the poetry and poetic studies of Huang Jie (1873-1935) = "Yi shi wei jiao" : Huang Jie (1873-1935) shi ge ji shi xue yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/209557.
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This dissertation examines the cultural dilemma that Chinese intellectuals are forced to confront with between tradition and Western Scholarship in Late Imperial and Modern China. As a traditional poet and scholar, Huang Jie (1873-1935) believed that the Manchurian reign was the reason for China’s collapse during Late Qing Era, and Chinese traditional culture would be the only remedy for the rapidly decaying society. Therefore, Huang initiated the campaign named “Nationality Conservation” in the aim of overthrowing the Manchu Empire. While sticking to “conservative” values, Huang adopted foreign/ Western cultural concepts and attempted to rephrase them with Chinese scholarship. All these endeavors had made Huang’s cultural identity confusing. Hence, this dissertation attempts to deal with Huang Jie’s understanding of culture through analyzing his poetry writings and poetic studies.
Immersed by Confucian doctrines about the relationship between poetry and politics, Huang paid special attention to the cultural cultivating function of classical poetry. This ideology of “Cultivation through Poetry” was specifically generated from the Mao Shixu in Eastern Han Dynasty, and then repeatedly expressed in Huang’s poetic works in order to change the corrupt Modern society. In spite of this, Huang still respected and paid serious attention to the literariness of poetry, either in poetry writings or poetic studies. He spent great efforts on the prosody and therefore was well commended among Late Qing and Early Republican poets. Hence, this dissertation thoroughly examines how Huang Jie negotiated the tension between political and literary aspects of classical poetry. After introducing his life history and the ideology of “Cultivation through Classical Poetry”, chapter two and three focus on themes and characteristics of Huang’s poetry. These two chapters explore how Huang established his own poetic style under the trend of Song Poetry Movement commencing from Late Qing. The last chapter investigates Huang’s view on the evolution of literature and focuses on his abundant studies of classical poetry. In the conclusion, this dissertation would like to demonstrate that as a poet and scholar, Huang Jie established the traditional cultural identity, same as his friends in Nanshe, while his faith of “Cultivation through classical poetry” was well challenged at that tumultuous Modern time.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Thomas, Lisa Cheryl. "Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28485/.
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My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has recently taken a new direction with the success of many new Native American composers who have an intrinsic commitment to see it succeed as a category of classical repertoire. Native American musical elements have been misunderstood for many years due to differences in systems of notation and cultural barriers. The ethnographers and Indianist composers, though criticized for creating a paradox, in reality are the ones who saved the original tribal melodies and created the perpetual interest in Native American music as a thematic resource for classical music repertoire, in particular piano repertoire.
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Ko, Wing-hong, and 高永康. "A study of the appellations in twelve imperial mandates from the Book of Zhou = Zhou gao shi er pian cheng wei yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206490.
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The study of Shangshu or the Book of Documents 尚書has long been a popular subject in China since the Han dynasty 漢 (206 BC-220 AD). Numerous topics have been investigated and studied deeply by scholars throughout the years. They, however, rarely focus on the appellations in the book and thus this will be the main research area of this paper. In order to maintain the consistency of the study and avoid the problem of authenticity of the passages, only 12 chapters (also known as the twelve imperial mandates 周誥十二篇) from the Book of Zhou 周書, which are considered to be the original and real texts from the Western Zhou period 西周 (1046-771 BC), will be the corpus of this research.
By studying the appellations from the selected passages mentioned above, it aims at enriching the study of vocabulary of the Western Zhou period, identifying and investigating the meaning of appellation of ancient China, as well as studying the society of Western Zhou period from the perspective of appellation.
This thesis consists of six chapters. Chapter one generally introduces the study of appellation in Chinese history, the aims of this research, the definition of appellation and the research materials. Chapter two focus on the explanation of the appellations in twelve imperial mandates from the Book of Zhou. Chapter three investigates the difficulties of handling the appellations in the previous chapter, as well as the solutions to the problems. Chapter four discusses the characteristics of the appellations. Chapter five studies the human relationship and the political culture of Western Zhou period from the perspective of appellation and finally chapter six concludes the findings of the research.published_or_final_version
Chinese Language and Literature
Master
Master of Arts
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Stoll, Daniel. "The Aesthetics of Storytelling and Literary Criticism as Mythological Ritual: The Myth of the Human Tragic Hero, Intertextual Comparisons Between the Heroes and Monsters of Beowulf and the Anglo-Saxon Exodus." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/577.
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For thousands of years, people have been hearing, reading, and interpreting stories and myths in light of their own experience. To read a work by a different author living in a different era and setting, people tend to imagine works of literature to be something they are not. To avoid this fateful tendency, I hope to elucidate what it means to read a work of literature and interpret it: love it to the point of wanting to foremost discuss its excellence of being a piece of art. Rather than this being a defense, I would rather call it a musing, an examination on two texts that I adore: Beowulf and the Anglo-Saxon Exodus
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Lai, Kwong-ki, and 黎廣基. "A philological study of the Chu bamboo text of the Warring States period as seen in volume two of the monograph seriescompiled on the basis of the collection housed in Shanghai Museum =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39368452.
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李詠健 and Wing-kin Lee. "A philological study of the excavated texts included in the seventh volume of the Compilation of Warring States Chu bambooslips housed at the Shanghai Museum." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48329745.
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In 1994, two batches of unearthed Chu 楚 bamboo slips from the Warring States period (Zhanguo shidai 戰國時代, 475–221 B.C.), totaling 1200 pieces and featuring over 35000 characters, appeared in the cultural relic market of Hong Kong. These slips, highly valuable for philological research, cover nearly 100 kinds of ancient Chinese classic. They were soon collected by the Shanghai Museum for restoration and analysis, and have, since 2001, been published in successive volumes entitled Shanghai bowuguan cang Zhanguo Chu zhushu 上海博物館藏戰國楚竹書, eight volumes of which have been issued to date.
My study focuses on the seventh volume, published in 2008, comprising five chapters — Wuwang jian zuo 武王踐阼, Zhengzi jia sang 鄭子家喪, Jun ren zhe hebi an zai 君人者何必安哉, Fan wu liu xing 凡物流形, and Wuming 吳命— comprehensive annotation and transcription of which have been provided by the volume editor. In spite of the efforts put on interpreting these bamboo texts, existing researches have their limitations; some intricate textual problems remain to be solved. The present dissertation attempts to examine the elucidations and interpretations of these bamboo texts in order to identify and screen out erroneous views among them. Sophisticated investigation on several controversial issues has been carried out to determine and restore the intent of the original passages.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Tse, Heung-wing, and 謝向榮. "A philological study of the excavated texts of Zhouyi included in the third volume of the compilation of Warring States Chu bamboo slips housed at the Shanghai Museum = "Shanghai bo wu guan cang Zhan guo Chu zhu shu (san), zhou yi" cong kao." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/202374.
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Since the antiquity, the Book of Change (Zhouyi 周易) has been praised as the leading scripture among the five classics (with the Book of Documents [Shangshu 尚書], the Book of Odes [Shijing 詩經], the Spring and Autumn Annals [Chunqiu 春秋], and the Book of Rites [Liji 禮記]), and the supreme dao of the three mysteries (with Laozi 老子 and Zhuangzi 莊子). However, its guayaoci 卦爻辭 (general and line judgments of the hexagrams) are not only recondite but also proliferate with conflicting exegeses that lead nowhere. Fortunately, multiple early manuscripts of the Book of Change, including those from the Mawangdui 馬王堆 silk texts, the Fuyang 阜陽 bamboo slips, and the Chu 楚 bamboo slips housed at the Shanghai Museum, were excavated over the past forty years. These, combined with other related archaeological findings, found the basis for a scrupulous reading of the guayaoci. I attempt to compare the Shanghai Museum manuscript, which is the earliest extant copy of the Book of Change, with the traditional editions and other excavated copies to arrive at a reasoned exposition based on previous interpretation and through manifold research methods such as philology, textual criticism and theosophy.
The present thesis examines seven guyaoci from seven hexagrams:
1 “li yong qin fa 利用侵伐” of the fifth line of qian 謙;
2 “bu fu yi qi lin 不富以其鄰” of the fifth line of qian 謙 and the fourth line of tai 泰, and “fu yi qi lin 富以其鄰” of the fifth line of xiaochu 小畜;
3 the naming of wuwang 无妄 and its meaning;
4 “wuwang zhi ji, wu yao you xi 无妄之疾，勿藥有喜” of the fifth line of wuwang 无妄;
5 “he tian zhi qu 何天之衢” of the sixth line of dachu 大畜;
6 “lu suosuo, si qi suo qu zai 旅瑣瑣，斯其所取災” of the first line of lu 旅; and finally
7 “ru you yiru 繻有衣袽” of the fourth line of jiji 既濟.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Januzzi, Angela. "Making an "American Classic": Faulkner, Ferber, and the Politics of 20th Century Canon Formation." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/JanuzziA2007.pdf.
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朱少璋. "現代新詩人舊體詩硏究 = Study of Chinese classical poetry written by modern Chinese poets." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/471.
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Turquois, Elodie Eva. "Envisioning Byzantium : materiality and visuality in Procopius of Caesarea." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:943e33e8-10cd-4f27-8134-60b6f088b5a8.
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The three works of Procopius of Caesarea, the History of the Wars, the Buildings and the Secret History, form a corpus which can be profitably studied as a whole. My thesis is a typology of the visual in Procopius’ corpus, which is embedded in a study of narrative technique. It concerns itself with the representation of material reality and the complex relationship between materiality and the text. It utilises the digressive and the descriptive as an indirect entry point to expose Procopius’ literary finesse and his use of poikilia. In the first half of this thesis, the main object of my study is the representation of the material world in Procopius. The first chapter is devoted to the first book of the Buildings as it depicts the city of Constantinople. The second chapter moves to the representation of space and the third chapter to that of objects of all sizes and kinds. From these three different angles, I demonstrate how the visual is deeply charged with both ideological and meta-textual intentions. The second half of the thesis goes beyond materiality to examine what I discuss as the imaginaire of Procopius. The fourth chapter examines the way violence is depicted in a material and spectacular manner as well as its meta-textual implications, and the fifth and final chapter addresses the omnipresence of the supernatural in the corpus as well as Procopius’ self-representation as narrator and character. While preoccupied to some extent with ideological and political concerns, this thesis is first and foremost centred on the text itself and how its relationship to the description of material culture throws light on a crucial author on the cusp between the classical and the medieval imaginaire, one of the most significant authors in Byzantine literary culture.
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Walker, Stanwood Sterling. "The classical-historical novel in nineteenth-century Britain." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3036607.
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劉飛桐. "從史傳、筆記到傳奇 :古典小說之醞釀生發 = Historical biography, literary sketch and legendary novel : the gestation and germination of Chinese classical novel." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954211.
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Browne, Eleanor. "Cato the Censor and the creation of a paternal paradigm." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:91509829-2305-4a3c-96fb-31cecd71f394.
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This thesis analyses the relationship between Marcus Porcius Cato Censorius and his eldest son, Marcus Porcius Cato Licinianus, considering its importance for Cato's public image and political career, investigating its place within some of the central cultural debates of the 2nd century BC, and looking at the impact which this relationship had upon received impressions of Cato the Censor as presented by later Latin authors. This is done primarily through the examination of the written works which Cato addressed to Licinianus, the extant fragments of which are presented here, with a translation and commentary, in the first modern edition to treat these texts as a unified project. The subsequent sections of this thesis set the works which Cato addressed to his son within the context of the general cultural debate and individual political competition which engaged Rome's ruling elite during this period; Cato's adoption of a paternal persona within these works is related to the character's popular appeal in the military sphere and on the comic stage; and the didactic pose and agricultural instruction featured in these texts is used to illuminate some of the challenges posed to Cato's successful performance of his duties as censor. A final section considers the reappropriation of Cato's relationship with his son as found in the De officiis of Cicero, the Institutio oratoria of Quintilian, and the anonymous Disticha Catonis. This thesis suggests that the Censor's relationship with his son, and the works which he addressed to the young man, played a more significant part in Cato's public image and political career than has hitherto been acknowledged. These texts illuminate some of the finer points of Cato's clever political strategy and they offer fresh insight into the popular culture and elite competition of the period in which he lived. The relative importance of this relationship within Cato's public life helps to explain the popularity of later images of the Censor as a paternal and educational figure and offers us a better understanding of modern conceptions of Cato.
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Chrysanthou, Chrysanthos Stelios. "Narrative, interpretation, and moral judgement in Plutarch's 'Lives'." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:d7647c1c-22c9-4c4e-95e2-c93209592990.
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In the Parallel Lives Plutarch does not absolve his readers of the need for moral reflection by offering any sort of hard and fact rules for their moral judgement. Rather, he uses strategies for eliciting from readers an active engagement with the act of judging. This study, building upon and verifying further recent research on the challenging and exploratory, rather than affirmative, moral impact that the Lives are designed to have on their readers, offers the first systematic analysis of the representation of 'experimental' moralism of Plutarch's Parallel Lives. It seeks to describe and analyse the range of narrative techniques that Plutarch employs to draw his readers into the process of moral evaluation and expose them to the complexities and difficulties involved in making moral judgements. Through illustrating Plutarch's narrative techniques, it also sheds significant light on Plutarch's sensibility to the artistic qualities of historical narrative as well as to the challenges and dangers inherent in recounting, reading, and evaluating history. Chapter 1 considers the interrogatory nature of the moralism of the Lives and their narrative sophistication, which the insights of recent literary theories can help us to unfold and analyse. Chapter 2 is concerned with Plutarch's projection of himself and his readers, and, more specifically, with the devices that Plutarch exploits to build his authority with his readers, establish their complicity, and draw them into engaging all the more actively with the subjects of his Lives. Chapter 3 examines how Plutarch's delving into the minds of the in-text characters generates in readers empathy that keeps them alert up to the end of the Life to the complex and provisional character of a clear-cut moralising judgement. Chapter 4 reflects especially upon Plutarch's tendency to refrain from offering an overall moral conclusion in the closing chapters of the biographies. It examines several closural devices (such as anecdotes, the aftermath of cities, literary allusions, and generalised moral statements) that are effective in drawing readers to review in retrospect moral themes and questions which matter to the book as a whole, and (in the case of the endings of the second Lives) help a neat transition to the final comparative epilogue (Synkrisis) - whenever this follows. Chapter 5 explores how the Synkriseis expose readers to the particular challenges involved in deciding an overarching concluding judgement. It also closely examines the books that (as they now stand) do not have a Synkrisis and makes the case that no 'terminal irregularity' can justify and explain any deliberate omission of their comparative epilogues. Finally, Chapter 6 focuses on Plutarch's essay On the malice of Herodotus and explores how far Plutarch's techniques in the Lives escape and how far they are vulnerable to the criticisms that Plutarch makes of Herodotus. This analysis brings together the main strands of the earlier chapters so as to illuminate further Plutarch's narrative strategies; it also discusses the possibility that Plutarch exploits the rhetorical agonistic framework of the essay in order to elicit a similar sort of attentive and acute reader response to historical narrative, as in the Lives, and to arouse awareness of the precarious act of exercising moral judgement.
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Speerstra, Jane Ellen. "Landscape and change in three novels by Theodor Fontane." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3841.
Full textAbstract:
This thesis traces and explicates the changes in Theodor Fontane's landscape depiction in the years 1887- 1892. I examine his novels Cecile (1887), Irrungen, Wirrungen (1888), and unwiederbringlich (1892). I show that Fontane, as though discarding a relic of the Romantic past, used increasingly less landscape in his narratives. He focused on the actions and conversation of his characters, and on their immediate surroundings. When these surroundings were urban, they tended to disappear. The progressive minimalization of landscape, and of cityscape in particular, foreshadowed the appearance in German literature of twentieth-century man: man alienated from nature in cities, and less aware of empirically observable surroundings than of internal forces and realities.
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Tedeschi, Guillaume. "Etude philologique du texte d'Hésiode aux époques hellénistique et romaine." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209752.
Full textAbstract:
La présente dissertation analyse toutes les prises de position attribuées dans les scholies hésiodiques à un commentateur de l'Antiquité. Cette étude a pour optique d'apporter un regard nouveau sur les méthodes philologiques appliquées par les exégètes des époques hellénistique et romaine à la lecture des textes poétiques archaïques.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Wong, Chi-keung, and 黃志強. "Zhouyi on Chu Bamboo slips." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38314691.
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.
Full textAbstract:
This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Ponce, Timothy Matthew. "The Hybrid Hero in Early Modern English Literature: A Synthesis of Classical and Contemplative Heroism." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062882/.
Full textAbstract:
In his Book of the Courtier, Castiglione appeals to the Renaissance notion of self-fashioning, the idea that individuals could shape their identity rather than relying solely on the influence of external factors such as birth, social class, or fate. While other early modern authors explore the practice of self-fashioning—Niccolò Machiavelli, for example, surveys numerous princes identifying ways they have molded themselves—Castiglione emphasizes the necessity of modeling one's-self after a variety of sources, "[taking] various qualities now from one man and now from another." In this way, Castiglione advocates for a self-fashioning grounded in a discriminating kind of synthesis, the generation of a new ideal form through the selective combination of various source materials. While Castiglione focuses on the moves necessary for an individual to fashion himself through this act of discriminatory mimesis, his views can explain the ways authors of the period use source material in the process of textual production. As poets and playwrights fashioned their texts, they did so by consciously combining various source materials in order to create not individuals, as Castiglione suggests, but characters to represent new cultural ideals and values. Early moderns viewed the process of textual, as well as cultural production, as a kind of synthesis. Creation through textual fusion is particularly common in early modern accounts of the heroic, in which authors synthesize classical conceptions of the hero, which privilege the completion of martial feats, and Christian notions of the heroic, based on the contemplative nature of Christ. In this dissertation, I demonstrate how Thomas Kyd in The Spanish Tragedy (1585), Edmund Spenser in The Faerie Queene (1590), William Shakespeare in Titus Andronicus (1594), and John Milton in A Mask Presented at Ludlow Castle (1632) syncretized classical and Christian notions of the heroic ideal in order to comment upon and shape political, social, and literary discourses. By recognizing this fusion of classical heroism with contemplative heroism, we gain a more nuanced understanding of the reception of classical ideas within an increasingly secular society.
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Santos, Rafael Trindade dos. "Transposição de metros clássicos em língua portuguesa : histórico e estudo do caso das Odes e elegias, de Magalhães de Azeredo /." Araraquara, 2014. http://hdl.handle.net/11449/123199.
Full textAbstract:
Orientador: Brunno Vinicius Gonçalves VieiraBanca: Marcelo Tápia Fernandes
Banca: João Batista Toledo Prado
Resumo: Este trabalho analisa as Odes e elegias, livro de poemas de Carlos Magalhães de Azeredo (1872-1963), publicado em 1904, focando em sua tentativa de transposição dos metros clássicos gregos e latinos para a língua portuguesa. Magalhães de Azeredo foi o mais jovem fundador da Academia Brasileira de Letras, e procurou imitar, em seu livro, os versos das Odi barbare, do italiano Giosuè Carducci (1835-1907). Carducci chamava a seus versos metros bárbaros, por contraste com os versos clássicos que imitara. Sabe-se que a métrica utilizada por poetas e tratadistas da Antiguidade baseava-se em características fonológicas e prosódicas das línguas latina e grega que não se encontram mais nas línguas românicas. Assim, toda tentativa de transposição desta métrica em português - uma língua românica - é um problema que exige algum artifício poético como solução. O que se entende por metro clássico em cada época e círculo literário define as condições de recepção dos poemas gregos e latinos nos mesmos círculos; influi, por consequência, na elaboração dos sentidos que vão ser atribuídos à estrutura formal dos poemas. A análise de Odes e elegias, portanto, abrange suas condições tanto quanto seus resultados: não apenas qual foi sua proposta métrica, mas por que se propôs, ao que atenderia tais propostas, qual o contexto de suas tentativas de transposição da métrica clássica. Neste sentido este trabalho se propõe a contribuir para um campo de investigação que tem merecido um interesse crescente no Brasil, qual seja os estudos de história da tradução e da recepção dos clássicos, o que tem condicionado também um aumento de interesse na história das estratégias formais em tradução de poesia antiga
Abstract: This work analyzes Carlos Magalhães de Azeredo's 1904 Odes e elegias, focusing on his transposition of classical meters to Portuguese. Magalhães de Azeredo (1872-1963) was the youngest founder of the Academia Brasileira de Letras (Brazilian Academy), and he emulated, in his book, the verses of Giosuè Carducci's Odi barbare, made in what Carducci (1835-1907) called barbarian meters, contrasting with the true classical verse. It is widely known that ancient metrics was quantity-based-which is to say that it was grounded on Greek and Latin phonological and prosodical features alien to Romance languages. Therefore, every attempt to transpose its meters to Portuguese demands some poetic device to make it work. What, in time and space, is understood as classical meter defines the conditions of ancient poetry reception in literary circles; it has an influence, so, in the meanings attributed to the poems' formal structure. Odes e elegias, then, is to be analyzed in a way that keep in mind conditions as well as results: not only what was the metrical contract, but why was this contract proposed, what demands this contract, and what is its context. In this way, this work aims to add to an interesting and new field of investigation in Brazil: the studies on classics' translation and reception. These studies are conditioning a crescent interest on the history of formal strategies to translate ancient poetry
Mestre
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Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
Full textAbstract:
This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences.
This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.
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Pini, Mariana 1988. "Política e Latinitas : o Brutus de Cícero e os fins da eloquência romana." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270892.
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Orientador: Marcos Aurelio PereiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-25T05:07:13Z (GMT). No. of bitstreams: 1 Pini_Mariana_M.pdf: 615255 bytes, checksum: 51467bd71b14bb047c5105dea6592413 (MD5) Previous issue date: 2014
Resumo: A obra Brutus, de Marco Túlio Cícero, conduz uma reflexão sobre a história da eloquência e uma avaliação sobre os grandes nomes da retórica, desde suas origens dentro da cultura grega antiga até suas contribuições romanas, cuja glória máxima é depositada sobre o próprio autor. No ocaso da República sob a tirania de César, o Arpinate apresenta seu panteão de oradores, associado a um conjunto de preceitos sobre o latim. Este trabalho advoga que a preceptiva ciceroniana dialoga com a obra De analogia, de César (por sua vez, dedicada a Cícero como resposta a seu influente De oratore). O estudo se dedica a investigar como Cícero formula suas concepções sobre o bom latim de forma incompatível, em numerosos aspectos, com as concepções de César. A discussão sobre a Latinitas é tomada como oportunidade, no Brutus, para que Cícero articule seu próprio ethos como um personagem, bem como o de César, também presente no diálogo. O latim é um campo de batalha que se tinge de tonalidades políticas: o orador concebe a Latinitas como questão de educação elementar e hábito alcançado através da prática com boas famílias. Júlio César, por sua vez, tinha por objetivo democratizar a Latinitas. Assim, a defesa do general, em favor de uma forma restrita de oratória, é regida pela ratio, isto é, de um método racional. A Latinitas está ligada à ideia de identidade propriamente romana; contudo, o debate sobre a fala adequada envolve inevitavelmente pontos de vista diferentes. O Brutus se inicia com a morte de Hortênsio, mas o eclipse do debate forense público imposto pelo general César representa, para Cícero, a morte da República; dessa forma, o texto compõe uma reflexão sobre a morte não apenas de um orador, mas de numerosos princípios caros ao Arpinate na Roma que se desenhava sob o domínio da censura
Abstract: The work Brutus, by Marcus Tullius Cicero, builds a reflection upon the history of eloquence and an evaluation about the greatest names of Rhetoric, since its emergence within the ancient Greek culture until its Roman contributions, whose most glorious representative is Tully himself. At the end of the Republic, under Caesarian tyranny, the Arpinate displays his pantheon of speakers, associated with a set of precepts about the Latin language and culture. The present study advocates that the Ciceronian perceptive is related to De analogia, a work by Julius Caesar (and dedicated to Cicero, as a reaction to his influential De oratore). This dissertation aims at investigating how Cicero formulates his conceptions about Latin in a way incompatible with Caesar¿s convictions. The discussion about Latinitas is seen as an opportunity, in Brutus, for Cicero to articulate his own ethos as a character, as well as Caesar¿s (also included in the dialogue). Latin is a battlefield tinted with political hues: The Roman orator conceives Latinitas as a matter of basic education and a habit reached through practice with worthy families. Julius Caesar, on the other hand, aims to democratize Latinity. Hence, the general¿s standpoint, favoring a restricted understanding of oratory, is governed by ratio ¿ in other words, by a rational method. Latinitas is connected to the idea of a properly Roman identity; the adequate speech is understood differently according to those different perspectives. The Brutus begins with the death of Hortesius, but the obliteration of public forensic debate (enforced by Caesar) represents, for Cicero, the death of Republic. Therefore, the text composes a reflection on death ¿ not merely the death of a speaker, but also the death of a number of principles cherished by the Arpinate in a Rome which had been recently brought under control by means of censorship
Mestrado
Linguistica
Mestra em Linguística
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Ng, Lok. "Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/ng_lok/index.htm.
Full textAbstract:
Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 21, 2003, Oct. 11, 2004, Oct. 24, 2005, and July 12, 2006. Includes bibliographical references (p. 33-35).
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Sillett, Andrew James. "A learned man and a patriot : the reception of Cicero in the early imperial period." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:a5463abd-1626-4331-9393-00282c4bcff7.
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This thesis is a literary study of how the life and works of Marcus Tullius Cicero were received in the century that followed his death. There are two ways of understanding the importance of such a study: the first is to think of it as a vital first step in assessing Cicero's impact on European thought and literature; the second is to see it as a study of how the people of early imperial Rome interacted with their Republican past. In order to provide a broad overview of this subject, I have chosen to focus on three separate areas of imperial literature which together provide a representative snapshot of Roman literary activity in this period. The period in question is essentially an extended Augustan age: beginning with Cicero's death ending in the reign of Tiberius. The first area of imperial literature under consideration is historiography. This section begins with a consideration of Sallust's decision to downplay Cicero's role in defeating the Catilinarian Conspiracy, ultimately concluding that this is authorial posturing on Sallust's part, a reflection of Cicero's importance in the years immediately following his death. This is followed by a chapter on the presence of Ciceronian allusions in Livy, arguing that they were a key means by which he enriched his narrative of the Hannibalic war. It concludes with two chapters on historiographical descriptions of Cicero's death, noting that these treatments become markedly more hagiographic the further one progresses into Tiberius' Principate. The second area under consideration is rhetoric, specifically focussing on the prominence of the declamation hall in this era. The three chapters in this section study the testimony of Valerius Maximus and Seneca the Elder, both of whom bear witness to Cicero's fundamental importance to this institution. The section concludes that the world of declamation was the prime motor for the hagiographic treatments of Cicero that was noted in the later historical accounts of his death. The third and final section considers the poetry of the Augustan era, demonstrating that a process of declining sophistication is not the whole story in Cicero's reception. By looking at Virgil and Ovid's intertextual relationships with Cicero, this section demonstrates that he was a rich source of inspiration for some of the ancient world's most erudite authors.
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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.
Full textAbstract:
The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.
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Philo, John-Mark. "An ocean untouched and untried : translating Livy in the sixteenth century." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:72584fcd-42d6-42b6-9186-18b01b95af85.
Full textAbstract:
This is a study of the translation and reception of the Roman historian Livy in the sixteenth century in the British Isles. The thesis examines five major translations of Livy's history of Rome, the Ab Urbe Condita, into the English and Scottish vernaculars. The texts considered here span from the earliest extant translation of around 1533 to the first, full-scale translation published in 1600. By taking a broad view across the century, the thesis uncovers the multiple and versatile uses to which Livy was being put and maps out the major trends surrounding his reception. The first chapter examines Livy's initial reception into print in Europe, outlining the attempts of his earliest editors to impose a critical order onto his enormous work. The subsequent chapters consider the respective translations undertaken by John Bellenden, Anthony Cope, William Thomas, William Painter, and Philemon Holland. Each translation is treated as a case study and compared in detail with the Latin original, thereby revealing the changes Livy's history experienced through the process of translation. By locating these translations in the cultural and political contexts from which they emerged, this study reveals how Livy was exploited in some of the most pressing debates of the period, from arguments over women's apparel to questions of faith. The thesis also considers how these translations responded to the most recent developments in European scholarship on the Ab Urbe Condita and on classical history more generally. Livy's contribution to the development of Scottish historiography is also considered, both as a stylistic model and as a rich source of narrative material. Ultimately this thesis demonstrates that Livy played a fundamental though hitherto underexplored role in the development of vernacular literature and historiography in the British Isles.
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Ladd, Michael J. "An interactive CD-ROM for the instruction of 'classic' sound synthesis methodologies." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1210534.
Full textAbstract:
The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive timbral differences produced by these methods. This environment allows students to interact at their own speed and assist in customizing their learning development.
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Santos, Rafael Trindade dos [UNESP]. "Transposição de metros clássicos em língua portuguesa: histórico e estudo do caso das Odes e elegias, de Magalhães de Azeredo." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/123199.
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Made available in DSpace on 2015-05-14T16:53:06Z (GMT). No. of bitstreams: 0
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000822831.pdf: 1439296 bytes, checksum: dedde1e032820dddd90aaf8a5313d447 (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Este trabalho analisa as Odes e elegias, livro de poemas de Carlos Magalhães de Azeredo (1872-1963), publicado em 1904, focando em sua tentativa de transposição dos metros clássicos gregos e latinos para a língua portuguesa. Magalhães de Azeredo foi o mais jovem fundador da Academia Brasileira de Letras, e procurou imitar, em seu livro, os versos das Odi barbare, do italiano Giosuè Carducci (1835-1907). Carducci chamava a seus versos metros bárbaros, por contraste com os versos clássicos que imitara. Sabe-se que a métrica utilizada por poetas e tratadistas da Antiguidade baseava-se em características fonológicas e prosódicas das línguas latina e grega que não se encontram mais nas línguas românicas. Assim, toda tentativa de transposição desta métrica em português - uma língua românica - é um problema que exige algum artifício poético como solução. O que se entende por metro clássico em cada época e círculo literário define as condições de recepção dos poemas gregos e latinos nos mesmos círculos; influi, por consequência, na elaboração dos sentidos que vão ser atribuídos à estrutura formal dos poemas. A análise de Odes e elegias, portanto, abrange suas condições tanto quanto seus resultados: não apenas qual foi sua proposta métrica, mas por que se propôs, ao que atenderia tais propostas, qual o contexto de suas tentativas de transposição da métrica clássica. Neste sentido este trabalho se propõe a contribuir para um campo de investigação que tem merecido um interesse crescente no Brasil, qual seja os estudos de história da tradução e da recepção dos clássicos, o que tem condicionado também um aumento de interesse na história das estratégias formais em tradução de poesia antiga
This work analyzes Carlos Magalhães de Azeredo‘s 1904 Odes e elegias, focusing on his transposition of classical meters to Portuguese. Magalhães de Azeredo (1872-1963) was the youngest founder of the Academia Brasileira de Letras (Brazilian Academy), and he emulated, in his book, the verses of Giosuè Carducci‘s Odi barbare, made in what Carducci (1835-1907) called barbarian meters, contrasting with the true classical verse. It is widely known that ancient metrics was quantity-based-which is to say that it was grounded on Greek and Latin phonological and prosodical features alien to Romance languages. Therefore, every attempt to transpose its meters to Portuguese demands some poetic device to make it work. What, in time and space, is understood as classical meter defines the conditions of ancient poetry reception in literary circles; it has an influence, so, in the meanings attributed to the poems‘ formal structure. Odes e elegias, then, is to be analyzed in a way that keep in mind conditions as well as results: not only what was the metrical contract, but why was this contract proposed, what demands this contract, and what is its context. In this way, this work aims to add to an interesting and new field of investigation in Brazil: the studies on classics‘ translation and reception. These studies are conditioning a crescent interest on the history of formal strategies to translate ancient poetry
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Mineau, Marie-Elaine. "Rôle des mythèmes dans la lecture de trois nouveaux romans." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33306.
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Alain Robbe-Grillet's Les Gommes, Michel Butor's L'Emploi du temps as well as Claude Simon's La Bataille de Pharsale are all New Novels in which Greek and Latin "mythemes" play various roles in the reception of the text by its reader. These roles represent our object of study. As a result of the possibilities and, more specifically, the many difficulties involved in reconstructing the original mythological plot, the reader realizes that the mythemes form a sort of "secondary plot" which both reflects the "first plot" (the novel's narrative) and determines its complexity. In this way, the mythemes guarantee a certain balance in the reader's level of understanding. However, they still bring out important problems: for example, they contribute to the redefining of certain familiar classical concepts and to the production of manifold interpretative choices. It follows that the mythemes are instrumental in making the reader the privileged spectator of the reconstruction of the horizon of expectations.
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姚京明. "A poesia classica chinesa : uma leitura de traducoes portuguesas." Thesis, University of Macau, 1998. http://umaclib3.umac.mo/record=b1636642.
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黃梓勇. "章太炎、劉師培《春秋左傳》學研究 : 清末民初經學轉型抉微 = A new discussion on the transition of classical studies in late Qing and early Republic China : the case of Zhang Taiyan's and Liu Shipei's scholarship on the Zuo commentary." HKBU Institutional Repository, 2011. http://repository.hkbu.edu.hk/etd_ra/1244.
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Bonfiglio, Emilio. "John Chrysostom's discourses on his first exile : Prolegomena to a Critical Edition of the Sermo antequam iret in exsilium and of the Sermo cum iret in exsilium." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df828fcd-dc2a-47b9-8bb1-c957c9199fb1.
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The Sermo antequam iret in exilium and the Sermo cum iret in exsilium are two homilies allegedly pronounced by John Chrysostom in Constantinople at the end of summer 403, some time between the verdict of the Synod of the Oak and the day he left the city for his first exile. The aim of the thesis is to demonstrate that a new critical edition of these texts is needed before any study of their literary and historical value can be conducted. Chapter one sketches the historical background to which the text of the homilies refers and a concise survey about previous scholarship on the homilies on the first exile, from the time of Montfaucon’s edition until our days. The problem of the authenticity occupies the last part of the chapter. Chapter two investigates the history of the texts and takes into account both the direct and indirect traditions. It discusses the existence of double recensions hitherto unknown and provides the prefatory material for the new critical edition of recensio α of Sermo antequam iret in exilium and of the Sermo cum iret in exsilium. Chapter three comprises the Greek editions of the two homilies, as well as a provisional edition of the Latin version of the Sermo antequam iret in exilium. Chapter four is divided into two parts, each presenting a philological commentary on the text of the new editions. Systematic analysis of all the most important variant readings is offered. The final chapter summarizes the new findings and assesses the validity of previous criteria used for discerning the authenticity of the homilies on the exile.
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Kerr, Robert Anthony. "Criticism in Quintilian." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/5575/.
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The Institutio Oratoria of Quintilian (Marcus Fabius Quintilianus) is a work that follows in a tradition of writing on rhetoric, a tradition that dates back to the fifth century B.C. My thesis establishes Quintilian and his work within this tradition, and encourages the reader both to consider one aspect of the convention of technical instruction in rhetoric, namely criticism, and to reflect on the originality of criticism in Quintilian's work. Accordingly, I have two main aims. Firstly, I intend to give full detail of examples of criticism in the Institutio Oratoria, and this will include identifying, where possible, people who are targeted by Quintilian for criticism. Thus, in detailing examples - which I do by paraphrase and translation - and assigning them to chapters in this thesis, I follow the structure that Quintilian provides for his work in the preface to his first book. Targets of criticism include groups, such as parents, pupils, teachers, philosophers, actors, dancers, and specific individuals. My second aim is to assess the originality of Quintilian's criticism. Thus, I examine the works of predecessors, notably, but not exclusively, other writers on rhetoric, whose works are extant or partly extant. My feelings indicate that there is much criticism that can serve as precedent for criticism in the Institutio Oratoria. However, it is evident that Quintilian has not indulged in mere repetition. He has changed and adapted criticisms in a way that reflects his educational and forensic background. He also implies that many of these still relate to his own time. I have also found that much criticism lacks apparent precedent - apparent, because other works on rhetoric that precede the Institutio Oratoria and have not survived could feasibly have provided precedents for criticisms in Quintilian's work that appear novel - and I suggest that the underlying intention of this is to relate practice more closely to theory, and theory more closely to practice.
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Binnie, Anna-Eugenia. "The conceptual history of the classical electron." Australia : Macquarie University, 1994. http://hdl.handle.net/1959.14/44827.
Full textAbstract:
Thesis (MSc (Hons))--Macquarie University, School of Mathematics, Physics, Computing and Electronics, 1994.Bibliography: leaves 198-202.
Early concepts of electricity and magnetism -- Vacuum pumps and barometric light -- Cathode rays -- Cloud chambers -- J.J. Thomson and the electron -- The Cavendish Laboratory and the determination of e -- The accurate determination of e -- Zeeman effect -- Lorentz -- Epilogue-advances in the Twentieth Century.
This work examines the notion of the "Scientific Revolution" as it may be applied to the development of a single concept: that of the electron. It spans a period of approximately 400 years and traces the development of both the theoretical as well as the experimental work which finally led to the concept of the electron. -- The concept of the "Scientific Revolution" as developed by Thomas Kuhn will be examined and discussed with respect to whether it may be directly applied to the areas of electricity and electromagnetism. It will become apparent that each significant series of new discoveries in this area was preceded by the development of various devices which allowed these discoveries to be made. Specifically the development of vacuum pumps, vacuum tubes, reliable sources of electricity and the cloud chamber will be discussed in some detail. -- The discussion will start with the early documented discoveries and speculations on the nature of static electricity and magnetism. The development of Volta's pile allowed work to commence on the effects of a continuous current of electricity and later into the electromagnetic nature of this current. This will be followed by the work on electrical discharges in evacuated glass tubes which ultimately led to the discovery of the particle nature of cathode rays. -- The focus of this thesis will be on the work carried out in the later part of the Nineteenth Century, much of it in the Cavendish Laboratory at Cambridge. A detailed discussion of the work of J.J. Thomson and his students C.T.R. Wilson, J. Townsend, H.A. Wilson and E. Rutherford will be made. The work of the Dutchman, P. Zeeman will also be considered since the discovery of the Zeeman Effect and its subsequent explanation supported the existence of a negatively charged subatomic particle. -- The experimental determination of the magnitude of the unit electric charge on the electron will also be discussed from the early work at the Cavendish to R.A. Millikan's successful oil drop experiment and the later X-ray diffraction methods. This section will conclude with a description of T.H. Laby's work in Melbourne around 1940. -- This work will conclude with a brief exposition of the theoretical development of the electron theory of matter. Specifically the work of J.C. Maxwell and H.A. Lorentz will be examined against the background of the concepts of the aether and force at a distance. Since this is a history of the classical electron the vast history of the development of quantum ideas is not a part of this story consequently the final chapter will very briefly mention the developments of quantum mechanics and the development of modern atomic theory.
Mode of access: World Wide Web.
iv, 202 leaves ill
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Makres, Andronike. "The institution of Choregia in classical Athens." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241185.
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Hodkinson, Stephen John. "Explorations in Classical Spartan property and society." Thesis, University of Cambridge, 1992. https://www.repository.cam.ac.uk/handle/1810/275233.
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Lekas, P. "Marx on classical antiquity : Problems of teleology and history." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377224.
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Nell, Erin Ann. "Astronomical orientations and dimensions of Archaic and Classical Greek temples." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291618.
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Previously it has been assumed that the majority of Greek temples were oriented towards the eastern horizon, in the direction of sunrise. The author of this thesis conducted a GPS temple orientation survey of eight Greek Doric temples and concluded that these structures were actually oriented to the western, not eastern, horizon, in the direction of sunset. The following facts support this hypothesis: (1) of the eight temples surveyed, the western orientations of six were more precise than their eastern orientations, (2) in the Archaic and Classical periods of ancient Greece, architecturally aligning structures to the western horizon could have been accomplished with far greater ease and higher precision than to the eastern horizon, (3) literary evidence by Vitruvius supports this claim of western temple alignments, and (4) the lengths of each temple surveyed appear to have been determined via the same technique which oriented them to the sun on the western horizon.
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Bershadsky, Natasha. "Pushing the boundaries of myth| Transformations of ancient border wars in Archaic and Classical Greece." Thesis, The University of Chicago, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3557392.
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The dissertation explores the phenomenon of long-running border wars, which are believed to have been ubiquitous in Archaic Greece. Two most famous confrontations are examined in depth: the war between Eretria and Chalcis over the Lelantine Plain, and the struggle between Sparta and Argos over the territory of Thyreatis. It is suggested that in the Archaic period these disputed territories were contested in recurrent ritual battles. The battles took place in the framework of peace agreement between the neighboring cities, so that the disputed territory constituted a sacred common space for the opposing cities. The participants in ritual battles belonged to the social class of hippeis, for whom the battles both expressed their local identity and reaffirmed the Panhellenic values, underlying aristocratic inter- polis ties. The ritual battles reenacted mythical destructive confrontations, which were imagined to result in death of all combatants; however, the ritual battle themselves, which were normally non-lethal, were led according to strict rules and represented the enactment of the hoplite ideal. The tradition of the aristocratic ritual battles began to break down in the middle of the sixth century, when, following the adoption of a more aggressive style of warfare, the border territories that had been ritually contested became annexed by one city-state. However, the myths of confrontations between neighboring cities did not lose their ideological power. In the Classical period, these myths constituted a contested ideological territory in the inter- and intra-polis struggles between democratic and oligarchic political camps. In particular, the myths about the confrontation between neighboring cities were adopted by democratic regimes as their foundational narratives.
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Milligan, Susan J. "The treatment of infants in classical and Hellenistic Greece." Thesis, University of Glasgow, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364259.
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