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1
Calzolaio, Francesco Christiano <1974>. "Commentario papirologico al secondo capitolo del Vangelo di Giovanni." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/1559/1/Francesco%2CChristiano_Calzolaio_tesi.pdf.
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Calzolaio, Francesco Christiano <1974>. "Commentario papirologico al secondo capitolo del Vangelo di Giovanni." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/1559/.
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Agostini, Domenico. "L' Ayādgār ī Jāmāspīg : un testo escatologico zoroastriano : edizione e commentario dell'opera." Paris, EPHE, 2008. http://www.theses.fr/2008EPHE4008.
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Cette thèse est consacrée au livre zoroastrien "Ayādgār ī Jāmāspīg" (le mémorial de Jāmāsp), texte de genre eschatologique, composé essentiellement de prévisions sur des évènements futurs attribués au sage Jāmāsp - une des figures les plus importantes de la tradition mythique zoroastrienne - dont la version originaire pehlevie doit avoir été composée à la même époque que les textes pehlevis du 9e-10e siècle. Ce travail est constitué par une édition philologique complète de l'oeuvre basée sur des matériels de diverses natures graphique et historique, dont la version pārsi, contenue dans le manuscrit M52, en représente la tradition la plus moderne et la mieux conservée. L'édition de l'oeuvre respecte tous les nouveaux critères scientifiques pour l'édition de textes anciens, qui prévoient une riche introduction thématique, la translittération, la transcription et traduction du texte, un commentaire historique-religieux des thématiques abordés et le glossaire. La thèse est complétée entre autre par la reproduction microfilmée de tous les codes aujourd'hui existants, qui comportent des problèmes d'accessibilité et qui se présentent souvent sous des formes corrompues et incomplètes. L'objet de la thèse est d'une part celui d'améliorer et de compléter les éditions anciennes de l'oeuvre, d'autre part d'attirer à nouveau l'attention des spécialistes des langues et des religions iraniennes anciennes sur un texte en ayant reçu trop peu ces dernières annéesThis thesis is devoted to the zoroastrian book "Ayādgār ī Jāmāspīg" (the memorial of Jāmāsp), an eschatological text composed primarily of forecasts on future events attributed to the wise Jāmāsp - one of the most important figures of the mythical zoroastrian tradition - whose pahlavi original version was composed at the same time that the pahlavi texts of the 9th-10th century. The present work consists of a complete philological edition of the work based on various graphic and historical materials, whose pārsi version contained in the manuscript M52 is the most modern and best preserved tradition. The edition of the work complies with all the new scientific criteria for editing ancient texts, by providing with a rich thematic introduction, the transliteration, the transcription and the translation, the review of historical and religious themes present in the text, as well as the glossary. The thesis is supplemented by the microfilms reproduction of all existing codes, wich are hardly accessible and often exist in corrupted and incomplete forms. The aim of the thesis is to improve and complete the ancient editions of this important text as well as to draw the attention of the specialists in languages and religions of Ancient Iran to a text which has received in recent years too few attentions
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Pastore, Graziella. "Nicolas de Gonesse e la traduzione francese di Valerio Massimo. Edizione e commentario." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030011.
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La traduction française des facta et dicta memorabilia (memorabilia) de Valère Maxime est l'une des œuvres les plus importantes composées au cours de la grande saison de traduction en français des ouvrages de l'antiquité classique entre le xiiie et le xve siècle. l’œuvre conjointe de Simon de Hesdin et Nicolas de Gonesse, « translateurs » et glossateurs de Valère Maxime, eut une importante fortune manuscrite et fut très célèbre parmi ses contemporains. cependant, elle demeure toujours inédite. par notre recherche nous espérons remédier à cette lacune critique en faisant le travail qui s'impose sur la tradition manuscrite de cette œuvre. plus précisément, en partant des études de m. Giuseppe Di Stefano et en nous rattachant aux travaux d'édition déjà entrepris par l'équipe coordonnée par m. Alessandro Vitale-Brovarone (Université de Turin, Italie), nous comptons fournir une édition critique de la deuxième partie de cette traduction, à savoir la partie mise en français par Nicolas de Gonesse pour le duc Jean de Berry entre 1400 et 1401The first French translation of Valerius Maximus constitutes one of the main unpublished works in the medieval French literary production; it can be considered instrumental for a better comprehension of the development of the French branch of Humanism in general, and the diffusion of Italian and Latin texts in fourteenthcentury France in particular. Further expanding the studies of Giuseppe Di Stefano and according to the project of the University of Turin, we propose the first critical edition of the section of the text translated and glossed by Nicolas de Gonesse (books VII 5 - IX) based on manuscript Paris, BnF, français 282. Moreover, we present new data on the manuscript tradition and additional analysis of this work
5
Raspanti, Giacomo, and Jérôme. "Il commentario sulla Lettera ai Galati di San Girolamo : introduzione, testo critico ed annotazioni." Paris 10, 2003. http://www.theses.fr/2003PA100010.
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Le contenu fondamental de la Thèse est l'édition critique de l'Ad Galatas de S. Jérôme: le texte de l'œuvre hiéronymienne occupe la partie centrale de la Dissertation et il est accompagné des traditionnels Index des citations bibliques et des lieux parallèles ainsi que des Notes dans lesquelles on explique quelques choix relatifs au texte et vice versa même quelques-unes des questions demeurées irrésolues au moment de la composition du texte. L'Ad Galatas est précédé d'une Introduction dans laquelle le Commentaire est présenté et contextualisé du point de vue historico-littéraire, même s'il n'y a pas la prétention d'épuiser tous les aspects problématiques que l'œuvre pose aux spécialistes; en outre, pour faciliter le jugement critique du lecteur sur le texte établi, une grande partie de l'Introduction est consacrée au travail philologique réalisé sur l'Ad Galatas, qui représente la partie de la Dissertation qui a demandé le plus de temps et le plus de fatigueThe main content of the Dissertation is the critical edition of Ad Galatas of St. Jerome: the text of the Commentary takes the central part of our work and it is followed by Notes in which we explain the choosing of some readings as well as the problems met during the constitution of the text and still open; we have also joined the Indexes of biblical quotations and of other ancient writers quoted. Ad Galatas is preceded by an Introduction by which the Commentary is presented and his historical and literary context is described, although we didn't consider all the problems of this exegetic work of Jerome; moreover, in order to make easier the critic opinion of readers about our text, we describe our philological work on the text, which has been the hardest side of the Dissertation, in a long part of the Introduction
6
Costazza, Birgit <1983>. "L'inno avestico agli Aməsha Spəṇtas (Yasht 2). Testo critico e traduzione con commentario storico religioso." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6702/1/Costazza_Birgit_tesi.pdf.
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L'inno dedicato ai sette Amesha Spəṇta è parte della produzione avestica recenziore, e si compone in gran parte di porzioni testuali riprese da altri testi avestici a loro volta di formazione tardiva. Lo Yašt si divide in tre parti principali: le stanze 0-10; 11-14; e infine la stanza 15 che comprende la formula di chiusura tipica degli inni avestici. La prima sezione (2.0-10) è composta dalla formula di apertura, incompleta rispetto a quelle dei restanti inni, seguita dai primi sette capitoli di entrambi i Sīh-rōzag compresi i Gāh. Le stanze centrali (11-14) si caratterizzano per l'assenza di passi gemelli, un elevato numero di hapax e di arcaismi formali e inoltre, una grande variabilità nella tradizione manoscritta. Si tratta di una formula magica per esorcizzare/allontanare demoni e stregoni, che doveva essere recitata per sette volte. Tale formula probabilmente rappresentava in origine un testo autonomo che veniva recitato assieme ad altri testi avestici. La versione a noi pervenuta comprende la recitazione di parte di entrambi i Sīh-rōzag, ma è molto probabile che tale arrangement sia soltanto una sequenza recitativa che doveva coesistere assieme ad altre. Attualmente la formula magica viene recitata principalmente assieme allo Yasna Haptaŋhāiti, senza le restanti stanze dell'inno nella sua versione geldneriana. Il testo sembra nascere come formula magica la quale venne recitata assieme a diversi testi avestici come per esempio parti dello Sīh-rōzag. In un periodo impossibile da stabilire con certezza la versione viene fissata nella forma a noi pervenuta nella maggior parte dei manoscritti e per la sua affinità formale probabilmente interpretato come inno e perciò incluso nell'innario avestico.The Avestan Hymn to the seven Amesha Spəṇta is a late composition. It is mostly charchaterized by a collation of fragments from other Late Avestan texts. The Yašt can be divided in three parts: stanzas 0-10, 11-14 and 15, the last stanza regards the closing formula. The first part includes the opening formula that, compared to the other Avestan hymns, is incomplete and the first seven chapters of both Sīh-rōzag and the Gāh. The central stanzas (11-14) present an original composition without parallels or twintexts. It shows numerous hapax, formal arcaisms and an enormous amount of variants in the manuscript tradition. It centres on an exorcistic formula meant to expell demons and sorcerers that has to be recited seven times: most likely the magical spell was originally performed together with other Avestan texts such as the Sīh-rōzag. Likely, this specific arrangement of texts irepresents only one performative sequence, originally coexisting together with others which were not transmitted in the written tradition. Nowadays, the formula is mostly recited with the Yasna Haptaŋhāiti, for apotropaic purposes and in order to guarantee good fortune among the Parsis. The exorcism was originally performed together with several sacred formulas. The composition transmitted in the manuscripts is probably only one version, which was included in the canon because wrongly associated with a hymn.
7
Costazza, Birgit <1983>. "L'inno avestico agli Aməsha Spəṇtas (Yasht 2). Testo critico e traduzione con commentario storico religioso." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6702/.
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L'inno dedicato ai sette Amesha Spəṇta è parte della produzione avestica recenziore, e si compone in gran parte di porzioni testuali riprese da altri testi avestici a loro volta di formazione tardiva. Lo Yašt si divide in tre parti principali: le stanze 0-10; 11-14; e infine la stanza 15 che comprende la formula di chiusura tipica degli inni avestici. La prima sezione (2.0-10) è composta dalla formula di apertura, incompleta rispetto a quelle dei restanti inni, seguita dai primi sette capitoli di entrambi i Sīh-rōzag compresi i Gāh. Le stanze centrali (11-14) si caratterizzano per l'assenza di passi gemelli, un elevato numero di hapax e di arcaismi formali e inoltre, una grande variabilità nella tradizione manoscritta. Si tratta di una formula magica per esorcizzare/allontanare demoni e stregoni, che doveva essere recitata per sette volte. Tale formula probabilmente rappresentava in origine un testo autonomo che veniva recitato assieme ad altri testi avestici. La versione a noi pervenuta comprende la recitazione di parte di entrambi i Sīh-rōzag, ma è molto probabile che tale arrangement sia soltanto una sequenza recitativa che doveva coesistere assieme ad altre. Attualmente la formula magica viene recitata principalmente assieme allo Yasna Haptaŋhāiti, senza le restanti stanze dell'inno nella sua versione geldneriana. Il testo sembra nascere come formula magica la quale venne recitata assieme a diversi testi avestici come per esempio parti dello Sīh-rōzag. In un periodo impossibile da stabilire con certezza la versione viene fissata nella forma a noi pervenuta nella maggior parte dei manoscritti e per la sua affinità formale probabilmente interpretato come inno e perciò incluso nell'innario avestico.The Avestan Hymn to the seven Amesha Spəṇta is a late composition. It is mostly charchaterized by a collation of fragments from other Late Avestan texts. The Yašt can be divided in three parts: stanzas 0-10, 11-14 and 15, the last stanza regards the closing formula. The first part includes the opening formula that, compared to the other Avestan hymns, is incomplete and the first seven chapters of both Sīh-rōzag and the Gāh. The central stanzas (11-14) present an original composition without parallels or twintexts. It shows numerous hapax, formal arcaisms and an enormous amount of variants in the manuscript tradition. It centres on an exorcistic formula meant to expell demons and sorcerers that has to be recited seven times: most likely the magical spell was originally performed together with other Avestan texts such as the Sīh-rōzag. Likely, this specific arrangement of texts irepresents only one performative sequence, originally coexisting together with others which were not transmitted in the written tradition. Nowadays, the formula is mostly recited with the Yasna Haptaŋhāiti, for apotropaic purposes and in order to guarantee good fortune among the Parsis. The exorcism was originally performed together with several sacred formulas. The composition transmitted in the manuscripts is probably only one version, which was included in the canon because wrongly associated with a hymn.
8
Marino, Giada <1993>. "Esegesi neopitagorica a Bisanzio: per un'edizione del commentario di Giovanni Protospatario ai "Giorni" di Esiodo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/11837.
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Questo lavoro si propone di allestire una nuova edizione del testo esegetico di Protospatario, superando, per quanto possibile, le difficoltà insite in Gaisford. Quest'ultimo ha rappresentato l'esemplare sul quale è stata condotta la collazione dei testimoni manoscritti. Nella sezione squisitamente filologica della tesi, dopo aver discusso, nella fase di recensio, la significatività degli errori-guida, si propone uno stemma codicum che rispecchia una recensione chiusa. Nella seconda parte si analizzano gli strumenti dell'esegeta, con particolare riferimento all'utilizzo dell'allegoria in età bizantina per interpretare i classici e i poeti epici in particolare, e i contenuti. Al commento puntuale del testo, riga per riga, segue una trattazione più distesa atta a contestualizzarlo nell'alveo della tradizione neoplatonica, che da almeno un secolo brillava di una nuova luce, e neopitagorica ovvero numerologica, peraltro strettamente connesse.
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CHESSA, PIETRO. "Tra l’umano e il divino: la divinazione in Giamblico. Un commentario al terzo libro del De mysteriis." Doctoral thesis, Università degli Studi di Cagliari, 2014. http://hdl.handle.net/11584/266497.
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Divination is the leitmotif of this essay. I tried to analyze this subjet that the main
thinkers and philosophers point out as the key-subject of the neoplatonic sage
Giambilico's Treatise On the Mysteries of Egyptians. It is a ten books work and the third
one was totally focused on Divination by the Author. Here he refutes and debates
Porfirio's objections about the nature, the shapes and the teurgic aims the divination
art can have. This essay follows the studying method already used in the Comment of
the Book III of the Treatise On the Mysteries of Egyptians: in this way i tried to show up
and present a fresco about the wide variety of theories, doctrines and contradictions
about this subject and describe an original complete critic structure, that you cannot
find in other essays about this theme. The core-subject of this debate is the
dissertation of Portirio's theory that we can read in the Letter to Anebo: here the
philosopher describes the divination origin as a complete natural origin, based on
psyco-physiological mood and inclinations of a typical soothsayer. Giambilico opposes
his idea to Portirios's, and he elevates the role of the medium from the soothsayer
attitude to the Supernatural, far from a mixture based on the human level and
existence.
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KIM, Wi Seon. "Il Commentario della vita di Giannozzo Manetti di Vespasiano da Bisticci (con un’edizione critica e commentata del testo)." Doctoral thesis, Università degli studi di Ferrara, 2015. http://hdl.handle.net/11392/2389023.
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This work consists in a critical edition and a historical and cultural analysis of the Commentario della vita di Giannozzo Manetti (henceforth Commentario), a work written by Vespasiano da Bisticci (1422-1498). We propose a rereading of it, ascribing the Commentario to an environment of opposition to the Medici’s regime, and we suppose a date of composition in the afterwards of the Pazzi conspiracy.
The Commentario has already been published twice: a first time by Pietro Fanfani in 1862 and a second time by Aulo Greco in 1976. However, both publications are somewhat imprecise from the philological point of view, and limited insofar as they are only based on one version of the Commentario: in reality there are six witnesses with numerous authorial variants, the analysis of which enriches the interpretation of the work. In our dissertation, we highlight that the Commentario is not a mere literary exercise by the author but conveys in fact contents of protest towards the gradual establishment of a Medici lordship in Florence, in contrast to what has hitherto been assumed. Such contents are however cautiously expressed by the author through recourse to Giannozzo Manetti’s biography. Manetti was indeed an important character of Fifteenth Century Florentine public life who showed his reluctance to submit to the centralization of state power in Cosimo the Elder’s hands.
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Granata, Daniele. "Pensiero e linguaggio dell'essere nel Commentario di Giovanni Filopono alle categorie di Aristotele. Introduzione, testo, traduzione e commento." Doctoral thesis, Universita degli studi di Salerno, 2016. http://hdl.handle.net/10556/2345.
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2013 - 2014This work’s goal is not only to detect the originality of the philoponian Commentary on Aristotle’s Categories, but also to show that logic is an autonomous discipline which studies the reality of being as practical and theoretical sciences do. First of all I proposed the text of the Commentary according to Busse’s edition of 1898, introduced by an editorial note, explaining that the text published has been followed faithfully, except for some interventions reported in footnotes, interventions flowing from the critical apparatus of Busse himself or aiming to correct typographical errors and oversights. The translation’s goal is mainly to prepare the ground for its detailed exegesis. The text’s reading shows that Philoponus’ In Categorias is a personal elaboration of the scholastic tradition in the light of the Commentator’s methodical brilliance, that stands out from Ammonius for theoretical breadth and depth, as well as for accuracy of certain considerations. Categories are shown not only as a logical text but also as a systematic tool of great importance. Philoponus shows that all disciplines, theoretical and practical, are closely related to logic, by which philosophers discern truth from falsehood and right from wrong. This thesis allow you to observe carefully in Philoponus’s treaty all interdisciplinary relationships, digressions and theoretical insights in support of this theory. The study of pre-propositional logic has as object simple beings signified by simple words through simple thoughts: homological correspondence between these three planes of reality is the foundation of Aristotle’s philosophy and of Philoponus’ recovery. Aristotle, this is clear from the Commentary, was, according to Philoponus, a platonic, among the best disciples of the Master. [edited by Author]
XIII n.s.
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Montarolo, Salvatore <1992>. "Ritorno all'Origine del Tao e della Potenza. Traduzione annotata del commentario al Daodejing di Li Daochun (fl. 1288-1306)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8777.
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Questo lavoro di tesi consiste principalmente nella traduzione del commentario al Daodejing, fondamentale classico taoista, redatto da Li Daochun (fl. 1288-1306), maestro della scuola meridionale d'alchimia interiore. Là dove si è dimostrato necessario, sono state aggiunte note esplicative per chiarire passaggi particolarmente oscuri, o per evidenziare l'uso della terminologia buddhista e confuciana di cui il commentatore si serve abbondantemente. Infine, è stata proposta una personale traduzione del Daodejing, tenendo conto delle maggiori traduzioni e interpretazioni già esistenti.
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De, Piano Sergio. "Il rapporto uno-molti e l'espressione della trascendenza nel libro VI del "Commentario al Parmenide di Platone" di Licio Proclo Diadoco." Doctoral thesis, Universita degli studi di Salerno, 2010. http://hdl.handle.net/10556/240.
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2009 - 2010Il complesso sistema teologico-metafisico elaborato da Proclo è sorretto e governato dal duplice presupposto dell‟assoluta trascendenza causale dell‟Uno e della necessaria relazione che Esso intrattiene con i Molti: sicché la scissione (meta)ontologica esistente tra il Principio e l‟universo che da esso promana, con il conseguente rapporto sinallagmatico, ovvero il nesso di reciprocità genetica e funzionale che i molti intrattengono tra loro e mediatamente con il Principio, rappresenta una (bi)polarità costante del pensiero procliano: all‟approfondimento di tali tematiche è consacrata l‟intera sua opera. Intorno a questo costitutivo nucleo tematico, ho inteso organizzare la prima sezione del mio lavoro (capitoli I e II), attraverso un itinerario storico-concettuale che, muovendo da Platone e snodandosi lungo quella tradizione speculativa che allo stesso Platone espressamente si richiama e che giunge fino al tardo neoplatonismo di Proclo, mostra le diverse configurazioni ed interpretazioni del paradigma metafisico henologico. L‟indagine condotta muove, in particolare, dal debito teoretico-metafisico contratto dal neoplatonismo nei confronti della così detta Protologia platonica, o teoria dei Principi, vale a dire di quegli insegnamenti da Platone svolti Innerakademisch esclusivamente in forma orale. La teoria dei Principi unifica il pluralismo delle idee in quella che, secondo le icastiche immagini contenute nei libri centrali della Repubblica, sarà identificata con l‟“Idea del Bene”: questa risulta dotata, per dir così, di una funzione di unità (hen) e misura (métron, akribéstaton métron), cui si contrappone il principio opposto – parimenti imprincipiato, ma di rango inferiore – della non-unità, ovvero della indeterminatezza e della illimitatezza, sostrato di ogni molteplicità particolare. A partire dalla “bipolarità” originaria, Platone deduce la multiforme (“polivoca” l‟avrebbe in seguito definita Aristotele) totalità dell‟essere: dalla bipolarità dei Principi primi, che, stando alle diverse testimonianze dossografiche, Platone definiva dell‟“Uno-Bene” e della “Diade Indefinita di Grande-e-Piccolo” (aóristos dyás), deriva e dipende l‟intera struttura della realtà. La rimodulazione procliana della concezione protologica platonica, intesa ad illustrare il processo emanatistico-causativo dell‟Uno e la struttura ontologica della realtà che ne deriva, costituisce l‟oggetto d‟indagine del III capitolo della tesi: in esso ho esaminato la fondazione monadica di ciascuna articolazione gerarchico-discensiva della realtà determinata dalla trascendenza causale dell‟Uno, all‟interno della quale opera quella medesima dialettica istitutiva del nesso sinallagmatico Uno-molti, che tende alla mediazione della metábasis dalla trascendenza dell‟Uno all‟essere. La prima stratificazione orizzontale che si realizza attraverso la generazione discensiva dell‟Uno è costituita dalla serie delle Enadi: probabile originale creazione del genio procliano, esse rappresentano, per un verso, gli elementi in qualche modo partecipanti al principio impartecipato, da cui ricevono, attraverso l‟a-temporale processo genetico che le istituisce, il carattere peculiare dell‟unità, che rende omogenea la serie; per altro verso, le enadi rappresentano gli elementi partecipabili di principi unitari ed unificanti, vale a dire il presupposto dell‟unità medesima per le sostanze universali. Pertanto, mentre l‟Uno costituisce la causa impartecipabile di tutti gli esseri, le Enadi, al contrario, costituiscono l‟insieme dei principi in virtù dei quali ogni essere determinato possiede il carattere (ontologico) ed il predicato (logico) dell‟unità. Icone dell‟Uno, donde traggono la loro condizione divina e meta-ontologica privilegiata, le enadi trascendono tutte quelle sostanze che unificano: tale trascendimento è reso possibile dalla pre-esistenza e, al tempo stesso, dalla praesentia, in esse, del Tutto, naturalmente sub specie unitaria e priva di relazioni con determinazioni specifiche dell‟essere, anche se le enadi sono necessariamente a vari livelli partecipate dagli enti e dall‟essere stesso. Le Enadi realizzano, pertanto, una duplice mediazione: esse, infatti, da un lato connettono la molteplicità in senso reale, configurandosi come unità di misura e di determinazione del molteplice; dall‟altro, nel trasmettere il loro carattere di principi di Unità, “esse collegano l‟ente anche con l‟Uno, e rendono possibile il ritorno dell‟ente a loro stesse”. Le Enadi, dunque, rappresentano il tentativo procliano di costituzione di una sovrasostanzialità intermedia: tuttavia, poiché esse si configurano come il metaxý tra l‟assoluta trascendenza del Principio rispetto all‟essere e l‟essere della successiva ipostasi, mi è parso evidente che i termini della dialettica trascendenza-immanenza cui esse soggiacciono instaurino necessariamente una irriducibile contraddizione. A rigore, è la stessa funzione connettiva assegnata alle Enadi da Proclo a rivelarsi intrinsecamente contraddittoria: esse, infatti, ancorché posseggano uno statuto meta-ontologico che le rende superiori alla prima emanazione ipostatica dell‟on-zoé-noûs, rivestono tuttavia un reale valore ontologico nella mediazione tra il non-essere kath’hyperochén dell‟Uno – che si esprime nella sua assoluta impartecipabilità – e l‟essere dell‟on; le Enadi, dunque, ostentano un duplice statuto strutturalmente contraddittorio, in ragione del quale esse rappresentano – hama, simul – ciò che non è più il non-essere dell‟Uno, pur rimanendo superiori all‟ipostasiessere. La consapevole, manifesta inanità dello sforzo compiuto – inteso ad istituire un possibile addentellato incontraddittorio attraverso l‟introduzione delle Enadi – oltre a rivelare l‟incolmabile abissalità che si dischiude e separa la trascendenza assoluta dell‟Uno e l‟immanenza ontologica di un cosmo ipostatico incapace di scorgere in sé le ragioni della propria genesi e sussistenza, manifesta anche l‟impossibilità di istituire una mediazione coerente e non contraddittoria tra strutture concettuali ed ontologiche opposte – rispettivamente la trascendenza dell‟Uno e l‟ontologia dell‟essere – poiché gli elementi incaricati della mediazione necessariamente appartengono all‟una o all‟altra delle due dimensioni. L‟indagine sulle inferenze e gli sviluppi connessi all‟assoluta incoordinabilità delle dimensioni in questione è stata da me condotta nel capitolo IV, nel quale, giovandomi delle analisi procliane condotte nel libro VI del „Commentario al Parmenide di Platone‟ da me tradotto, emerge la ratio giustificativa della presunta inefficacia di ogni tentativo di connessione tra livelli assolutamente non complanari, che a mio giudizio occorre individuare nella semplicità a-diaforica dell‟Uno: la sua semplicità assolutamente priva di relazioni rivela, infatti, la pura unità dell‟Uno nonmediata né mediabile financo con se stesso, giacché la stessa auto-identità si configura pur sempre come mediazione di sé con se stesso, come movimento da sé verso sé, ovvero come relazione di sé con se medesimo, e quindi come differenza o ri-flessione dell‟Uno sulla differenza da sé, istitutiva di una dialettica sinallagmatica tra relazionante e relazionato. Assoluta trascendenza – ed assoluta poiché di rango incommensurabilmente Elevato – nonché semplicità irrelata – ed irrelata proprio perché intrinsecamente in- differenziata – il Principio originario e causale del Tutto non s‟identifica con alcuno degli enti che costituiscono la totalità del reale: autentico cominciamento della totalità degli enti, necessariamente ad essi medesimi preesiste, e da essi medesimi radicitus se ne differenzia: di qui lo status di assoluta ulteriorità ontologica dell‟Uno, peraltro già prodromicamente individuato da Platone... [a cura dell'autore].
IX ciclo n.s.
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Beroaldus, Philippus [Verfasser]. "COMMENTARII IN PROPERTIVM - PRIMVS COMMENTARIVS : Der Kommentar zum Ersten Buch der Elegien des Properz / Philippus Beroaldus." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1080459782/34.
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Beroaldo, Filippo [Verfasser]. "COMMENTARII IN PROPERTIVM - PRIMVS COMMENTARIVS : Der Kommentar zum Ersten Buch der Elegien des Properz / Philippus Beroaldus." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://nbn-resolving.de/urn:nbn:de:101:1-201512206105.
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Abecassis, Deborah. "Reconstructing Rashi's commentary on Genesis from citations in the Torah commentaries of the Tosafot." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0025/NQ50099.pdf.
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Vogel, Manuel. "Commentatio mortis." Göttingen Vandenhoeck & Ruprecht, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=014911465&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Stürzenhofecker, Roland [Verfasser]. "COMMENTARII IN PROPERTIVM-COMMENTARIVS SECVNDVS : Der Kommentar zum Zweiten Buch der Elegien des Properz. Herausgegeben und übersetzt von Roland Stürzenhofecker / Roland Stürzenhofecker." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1199774049/34.
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Rossetti, Federica. "Il commento a Persio di Giovanni Britannico e la sua ricezione nel Cinquecento europeo : edizione critica e studio introduttivo." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC009/document.
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La présente étude propose une recherche sur la fortune de Perse (auteur satirique latin du I siècle ap. J. Ch.) pendant la Renaissance et l’édition critique du commentaire des Satires de Giovanni Britannico (humaniste, imprimeur et professeur de Rhétorique à Brescia au XVe siècle), ouvrage publié pour la première fois à Brescia en 1481 et qui bénéficia d’une énorme diffusion en France. Le premier chapitre de la thèse est consacré à la réception de Perse en Italie durant le XVe siècle et passe en revue les commentaires des Satires précédent l’ouvrage de Britannico. Le deuxième propose un profil biographique de l’humaniste et analyse son oeuvre, en l’inscrivant dans le cadre de l’activité éditoriale et typographique de sa famille. Le troisième présente la structure et les caractéristiques du commentaire et met en lumière les nouveautés exégétiques de l’ouvrage en rapport avec la production contemporaine. Le quatrième chapitre est consacré à la réception du commentaire en Europe durant la première moitié du XVIe siècle. La thèse se termine avec l’édition du commentaire, accompagnée d’un apparat critique qui présente les variantes et les sources de l’ouvrageThe aim of the thesis is to investigate about the reception of Persius’ poetry in the Renaissance period and to provide a critical edition of Giovanni Britannico’s commentary on Satires. Britannico’s work was published in Brescia in 1481 and it enjoyed a great diffusion and great appreciation in France during the 16th Century. The first chapter analyses Persius Satires reception in Italy during the second half of the 15th Century, by reviewing commentaries written before Britannico’s work.Then the thesis provides a biographical profile of the author and it analyses his literary production in the context of editorial and printing press activity of his family. The third chapter describes the structure and the features of the commentary, by comparing it with contemporary production on Persius. The last one studies the reception of the commentary in Europe in 16th Century. The critical edition of Britannico’s commentary is accompanied by a critical apparatus providing information about variant reading of the text and about its sources
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Daviet, Anne-Laure. "Edition, traduction et commentaire des Grenouilles d’Aristophane." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040203.
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Ce travail consiste en une édition commentée des Grenouilles, comédie présentée par Aristophane en 405 avant notre ère, et ayant obtenu une seconde représentation l’année suivante. Aristophane y présente la descente aux Enfers de Dionysos en quête du poète Euripide, et la dispute entre ce dernier et Eschyle pour la suprématie tragique. Notre édition comporte une introduction générale qui resitue les deux représentations dans leur cadre – historique, idéologique et littéraire – et montre comment le contexte immédiat, notamment la représentation des Bacchantes d’Euripide et la mort de celui-ci et de Sophocle, a influencé la structure de la pièce et ses thématiques ; ainsi que la nature et les causes des modifications apportées au texte entre la première et la seconde représentation. Le cœur de l’introduction analyse l’intrigue de la comédie de manière plus ou moins linéaire, montrant comment Aristophane utilise dans la première partie les motifs traditionnels de la catabase et du voyage initiatique, et comment, dans la deuxième partie, il détourne et critique les théories sophistiques du langage pour mettre face à face Euripide et Eschyle et en dégager une réflexion sur la fonction du théâtre dans la cité. Un chapitre est consacré aux hypothèses concernant la mise en scène originelle, et un autre à la transmission du texte depuis l’Antiquité. Le commentaire vers à vers aborde les questions d’établissement du texte, de vocabulaire, de grammaire, de métrique, de mise en scène et d’intertextualité. Le texte est accompagné d’un apparat critique faisant état de quatre manuscrits parmi les plus anciens (ainsi que d’autres de manière ponctuelle), et d’une traduction originaleThis work consists of an edition and commentary of the Frogs of Aristophanes, a comedy performed in 405 BC and a second time the following year. In it, Aristophanes shows the descent to the Underworld of Dionysos as he searches for the poet Euripides, and the latter’s contest with Aeschylus over tragic supremacy.. This edition contains a general introduction replacing both performances of the play in their historical, ideological and literary frame, and showing how immediate context – mainly the performance of Euripides’ Bacchae and his and Sophocles’ death – influenced the play’s structure and themes. It also shows the nature and causes of the revisions that Aristophanes made between the first and the second performance. The central part of the introduction analyses the plot in a mostly linear way, showing how Aristophanes uses the traditional narratives of catabasis and initiatic journey in the first part of the play, and how, in the second part, he appropriates and criticises the sophists’ theories of language in order to oppose Aeschylus and Euripides and consider the role of theatre in the city. One chapter is dedicated to hypotheses concerning the original stage performance, and another to the transmission of the text between Antiquity and modern times. The line-by-line commentary preoccupies itself with matters of textual criticism, vocabulary, grammar, metric, performance and intertextuality. The text is completed by a critical apparatus that reports the readings of four of the oldest mediaeval manuscripts (and some others when the need arises) and an original French translation
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Harding, Richard Iestyn. "Composition commentary." Thesis, University of Bristol, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500441.
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Written commentary submitted with a folio of compositions: 1. Achos for trombone and piano. 2. Au for eleven strings. 3. Cerulean for eleven musicians. 4. The Death of General Wolfe for mezzo-soprano, tenor, baritone, violin, accordion or synthesizer and four percussionists. 5. Night Bus for Orchestra. 6. Sonata for violin and piano. 7. Temperamental in four parts with percussion.
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Kelly, Adrian. "The path of song : semantic strategies in Iliad VIII." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:0e6834fd-8b77-4aa9-8916-561a4521a6f3.
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The Path of Song: Semantic Strategies in Iliad VIII is a continuous commentary to Book VIII of the Iliad, applying to this section of the poem a new aesthetic methodology developed primarily by the comparative scholar J. M. Foley. Termed 'traditional referentiality1, this methodology holds that oral traditional poetics is founded upon the duality of 'denotative' and 'connotative' levels of meaning, in which the semantic potential of any given element in the narrative, of any sort, is a result of the audience's experience with that element in previous performances. Thus, the associative qualities of traditional narrative allow the poet during the realisation of the song to manipulate audience expectations as they listen to stories whose general outlines (i.e. who kills who, who must not die at a certain moment in the story, etc.) they know from a lifetime of experience. To recapture this complex of meaning is to recreate the ancient experience of Homeric poetry, giving a modern audience access to the excitement and uncertainty of a narrative designed for a progressive unfolding at the moment of performance. After a brief introduction, in which a key term within Homeric poetics (οϊμη 'song path') is briefly discussed before we outline the history of the methodology and its place within modern scholarship, the commentary successively summarises and describes the key elements in small sections of the narrative, and then presents for each of these sections the comparative evidence establishing the conclusions reached. A conclusion is followed by two appendices on some of the more contentious speech introduction formulae.
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Holmes, Nigel Patrick. "A commentary on the tenth book of Lucan." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:737bba97-9cb5-45a1-8750-2f1fd3dbcbd0.
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The commentary is intended to provide information and arguments useful to understand and appreciate the poetry on a line by line basis. For this purpose it deals with a wide range of questions (of e.g. text, interpretation, sources, history, geography, atronomy), rather than investigating a single aspect of the poem. To cover the 546 lines of Book 10, it has been necessary to be a little selective. While I have, I hope, looked at most major problems of text and interpretation, I have not dealt with every point of interest or debated every variant interpretation of other scholars. Silence on textual matters may be taken to indicate acceptance of Housman's choice of reading. There is no introduction. A short appendix examines Lucan's sources and purpose in the Nile section of lines 194-331.
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Casale-Katzman, Emma-Alexia. "Enemy Alien : A novel and commentary, vol 1: commentary." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510513.
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Aljawder, Esam. "Portfolio of original musical compositions and accompanying written commentary. Commentary." Thesis, University of Bristol, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.629121.
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This thesis aims to outline my compositional path during the course of my academic study at the University of Bristol for the degree of Doctor of Philosophy in Musical Composition. It presents three aspects that contributed to the creation qf my own musical language: environment (Bahrain vs Bristol), technique and influences. The commentary divides into two sections: in the first I discuss the influences, and how the bilingual music affected my composition. I argue that traditional music has always been a rich resource for many composers; the writer being one of them, particularly when they have encountered it directly and as a living tradition in early life. The second section embodies the views, ideas and techniques, which are applied in my compositions. The portfolio comprises original compositions arranged according to instrumentation: five songs Lover; I saw you; Your eyes; Love is a body and Flowers for female voice and piano, Vivid Dream for oboe and vibraphone, Volatile for bassoon and piano, Fragments for string quartet, Clarinet Concerto for clarinet and orchestra, and finally Bus Scenes for orchestra.
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Zouganeli, Anna. "Les fragments des poètes tragiques grecs du quatrième siècle avant notre ère : édition, traduction et commentaire." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040152.
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La tragédie du quatrième siècle fut considérée depuis l’antiquité comme une phase de décadence du genre tragique. Toutefois, plusieurs spécialistes ont montré qu’il ne s’agissait pas d’un déclin : le théâtre continuait à jouer un rôle important dans la vie culturelle du monde grec. Dans cette thèse nous proposons une nouvelle édition des fragments des poètes tragiques grecs du quatrième siècle, qui furent actifs entre la fin de la guerre du Péloponnèse et la mort d’Alexandre le Grand. L’édition des textes est précédée d’une courte introduction sur chaque poète et suivie de leur apparat critique, leur traduction et des commentaires. Nous proposons également un nouvel ordre des poètes et des témoignages pour faciliter l’étude de ces textes. Nous espérons que cette thèse contribuera à une meilleure compréhension de cette production méconnue et invitera à des nouvelles recherchesAfter the death of Euripides and Sophocles, tragic poets continue to write tragedies. During the fourth century BC theatre expanded all over the Greek world. In this thesis, I propose a new edition of the tragic fragments of the fourth century BC, by poets who were active from the end of the Peloponnesian war to the death of Alexander the Great. The edition of these texts is preceded by a brief introduction on each poet and followed by a critical apparatus, their translation and commentaries. I also propose a new order of the poets and testimonies in order to facilitate the study of the texts. I hope this thesis will contribute to a better understanding of this relatively unknown production and inspire new researches
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Bowden, Mark. "Composition portfolio commentary." Thesis, Royal Holloway, University of London, 2009. http://digirep.rhul.ac.uk/items/398de9c6-6c68-3b1b-9c05-aaf9ec2be461/1/.
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This thesis consists of a portfolio of fourteen compositions, an accompanying commentary and recordings of the works on CD and DVD. The portfolio comprises one electronic composition, which is presented on the DVD, and thirteen printed scores spanning chamber, orchestral and vocal music, music written for young people and amateurs, and music created in collaboration with artists from different disciplines including text, film and dance. Through the works presented in the portfolio I have explored approaches to the construction of melody and harmony, the design and function of musical structure and form, and the variety of instrumental colour and timbre that can be achieved through the creative application of instrumentation. I consider these three areas to be fundamental compositional elements in my own work and areas for further exploration and expansion. The commentary comprises a broad discussion of the creative processes undertaken and how the portfolio relates to some movements and developments in current contemporary art music. The portfolio is contextualized with references to practitioners who have influenced my compositional output. These practitioners include Per Norgard, in particular his approach to melody and harmony through his discovery of the infinity series, and Magnus Lindberg, in particular his method of creating structural tempo relationships. Reference is also made to composers whose music elevates timbre to the same level of compositional significance as rhythm, melody, harmony and form, particularly composers of the so-called spectral movement such as Gerard Grisey. Please be aware that the compositions referred to in this thesis have not been digitised for copyright reasons.
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Almeida, Patrícia Manuela Fernandes Sucena. "Commentary and portfolio." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50595/.
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The submission (four volumes and a CD) includes a Portfolio and a Commentary. The portfolio containes eight pieces, Solitudo, Argumentum, Recordatio, Illuminatio, Transfiguratio, Ludus Aetemus, Mens Sana in Corpore Sano, Monstrum Horrendum. The commentary is divided in the following seven chapters: introdution, the Latin words of the pieces' titles, the relationship between the Latin words/letters of the words and the melodic material, the influences on the piece's conception, the influences on the conception of the form and and gestures, the influences on the scenery, performance and lighting and conclusion. The CD contains a live recording of two pieces mentioned before: Solitudo and Argumentum. On the whole, the portfolio and the commentary are a contribution to the Arts' World and provides the aesthetic and conceptual thoughts involved in the musical creation of these specific pieces. However, a paragraph of Carl Jung's book - Modern Man in Search of a Soul - was always kept in my mind and will be in the future: "I do not forget that my voice is but one voice, my experience a mere drop in the sea, my knowledge no greater than the visual field in a microscope, my mind's eye a mirror that reflects a small corner of the world, and my ideas - a subjective confession."
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Pearson, Matthew J. H. "Composition portfolio commentary." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.686184.
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This portfolio and accompanying commentary document my compositional research through the length of my course, 2007-2013. The portfolio is made up of five compositions taken from my total output of sixteen pieces. The portfolio pieces demonstrate writing for a wide range of forces and lengths: Mortality, a song cycle for tenor and piano Five Organ Miniatures Up the Spiral Staircase, for string quartet Sanctuary, a chamber opera Tenchikaibyaku, for symphony orchestra with expanded percussion The five chosen pieces that contribute to this portfolio are representative of my writing at the time of the course. They chart my trajectory towards a greater understanding of compositional technique,and a more true representation of my compositional self, through the research and exploration of various compositional challenges. These challenges include: Tackling musical characterisation, and how to allow an extramusical narrative to effect various aspects of music, including melody, harmony, and structure. The extramusical sources adopted in the portfolio are broad, ranging from an opera libretto to a faintly recalled recurring nightmare I had as a child. Prescribing myself a more rigorous approach to melodic development, which allows me to get more compositional'value' out of a raw melodic idea, and permits me to expend less original creative ideas in a single composition. A more rigorous approach to harmony, and permitting various processes/influences, including extra musical narrative, to inform harmonic decisions. Naturally, these challenges overlap and intertwine in both my writing and in the commentary, as one can easily influence the others. This commentary serves as a guide to my various approaches to these and other challenges, with reference to important and influential works and events that have shaped my writing and development as a composer.
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Breau, Sébastien, and Jürgen Essletzbichler. "Commentary: Contesting inequality." SAGE Publications, 2013. http://dx.doi.org/10.1068/a46244.
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Jeunet-Mancy, Emmanuelle. "Servius, Commentaire au Livre VI de l'Enéide : introduction, texte, traduction et commentaire." Besançon, 2006. http://www.theses.fr/2006BESA1019.
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Contemporain de Macrobe et de saint Augustin, Servius commente l’œuvre de Virgile à une époque où les valeurs romaines traditionnelles vacillent : les derniers païens peuvent voir en lui le défenseur d’une culture classique en train de disparaître, alors que les chrétiens ou les barbares peuvent, grâce à son enseignement, s’approprier cette même culture, avant de la transformer. Le livre VI de l’Énéide, charnière du poème, concentre des thèmes historiques, philosophiques et religieux qui permettent à l’exégète de montrer toute son érudition, mais surtout de transmettre les clefs d’une civilisation en complète mutation. Servius n’est pourtant pas seulement un antiquaire ; ses scolies portent également l’empreinte des préoccupations intellectuelles du début du Ve s. Et s’il ne se fait jamais théoricien, on peut cependant reconnaître l’influence du platonisme et du néoplatonisme dans nombre de ses explications. Le Commentaire de Servius est par nature fragmentaire ; si on lui ajoute les scolies du Servius Danielis, il forme un ensemble éclectique, encyclopédique, au style souvent lapidaire. À sa lecture, on a une idée plus précise de la réception de l’Énéide dans l’Antiquité tardive, des principaux courants de pensée et de l’état des connaissances, mais aussi de l’évolution de la langue et de la culture latinesAs a contemporary of Macrobius and Saint Augustine, Servius comments on the work of Virgil in a time when the traditionnal Roman values vacillate : the last pagans can see him as the defender of a classical education disappearing, while the Christians or the barbarians can, thanks to his teaching, appropriate the same culture, before transforming it. The book VI of the Aeneid, that of the arrival of the Trojans in Italy and of the descent into Hell of Aeneas, focuses on historical, philosophical and religious subjects which allow the exegete tho show his learning, but above all to pass on the keys of a civilization undergoing massive changes. Servius is nevertheless not only a specialist of Antiquity ; his scolies also show the marks of the intellectual preoccupations in the beginning of the Vth century and if he never made himself a theorist, we can however acknowledge the influence of the Platonism and the Neoplatonism in number of his explanations. The Commentary of Servius is by nature fragmentary ; if we add to it the scolies of Servius Danielis, it forms an eclectic, encyclopedic whole, with an often concise style. By reading it, we have a more precise idea of the reception of the Aeneid in late Antiquity, about the main ways thinking and the state of knowledge at the time, but also about the evolution of the Latin language and culture. For these reasons and with new examination of the handwritten text tradition, the present work has attempted to give an edition of the text allowing to establish the first French translation and to supply it with the indispensable notes and comments
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Poujade, Baltazard Sylvaine. "Francisci Robortelli Vtinensis in librum Aristotelis De arte poetica explicationes : introduction, édition, traduction." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20069.
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Ce travail présente une édition et une traduction de l'ouvrage d’une des figures marquantes de l’humanisme italien de la Renaissance, Francesco Robortello, intitulé Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. Il s'agit du premier commentaire à être publié de la Poétique d'Aristote. L'ouvrage paraît à Florence en 1548, et fait l’objet d’une deuxième édition, révisée par ses soins, à Bâle en 1555 : le commentaire est précédé du texte grec de l’édition aldine des Rhetores Graeci de 1508, accompagné d'une traduction latine d’Alessandro Pazzi qui date de 1536. Robortello est à l'origine de la redécouverte, voire de la découverte en Italie des analyses aristotéliciennes sur l'art poétique, texte difficile qu'il cherche à rendre accessible aux lettrés de son époque. Cette étude a consisté à établir le texte par la confrontation des deux imprimés de Florence et de Bâle, et permet, en découvrant l’ensemble des analyses de l’auteur, de montrer que cecommentaire, loin d’être une interprétation erronée du texte d’Aristote, est une première lecture sur la voie de notre compréhension moderne des lois de la création poétiqueThis work is an edition and a translation in French of Robortello’s text untitled Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. It is the first published commentary on the Poetics, edited in 1548 in Florence, and revised for a second edition in Basel in 1555. The book contains an edition of the Greek text of the Poetics, based onthat of Aldine edition of 1508, but with several emendations, followed by Pazzi’s Latin translation dated from 1536, and his own commentary. This study, by discovering the whole of the author's analyzes, shows that this comment, far from being anerroneous interpretation of Aristotle's text, is a first reading on the path of our modern understanding of the laws of poetic creation
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Laham, Fadia. "Les Élucidations du commentaire coranique allusif de Rūzbehān Baqlī Širāzī (1128-1209)." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP032.
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« Les Épouses de l’Élucidation des Vérités du Coran » est un commentaire coranique allusif du grand soufi persan Rūzbehān Baqlī Širāzī. La présente thèse l’étudie dans le but d’en d’extraire ces élucidations mêmes qui sont d’ordre théologique, philosophique, cosmogonique, anthropologique, spirituel et mystique. S’inscrivant dans la lignée de la tradition soufie du siècle d’or, l’auteur révèle la face ésotérique du Coran à partir de sa propre expérience spirituelle. Son axe herméneutique original est de lire le texte coranique comme une « description de la proto-éternité ». Le suivre dans sa lecture a permis de faire des percées inédites : la filiation spirituelle de Rūzbehān à Ibn H̠afīf est mieux cernée, de même que le profil des autres maîtres dont il s’inspire. Son affiliation à l’Aš‘arisme est mise en exergue et un lien littéraire est souligné avec Abū Ḥāmid al-Ġazālī. La jonction avec néo-platonisme et pythagorisme est mieux mise en lumière tandis que l’étude d’une citation attribuée à Iraql le Sage évoque le phénomène d’hybridation propre à la renaissance des Abbasides. La thèse étudie les cosmogonies déclinées par l’auteur ainsi que son anthropogenèse, basée sur la croyance en la pré-existentialité des esprits. Est élucidé sa perception de la fiṭraẗ, comme infusion au substrat humain d’un Esprit qui lui ajoute l’Image de Dieu. La voie mystique rūzbehānienne, si influencée par Ḥallāǧ, est développée dans toutes ses étapes. Les élucidations de ‘Arā’is, dans leur cohérence et leur clarté, sont-elles la synthèse définitive du magistère spirituel de Rūzbehān Baqlī ? Son chant de Cygne ? Cette thèse l’affirme“The Brides of the Elucidation of the Truths of the Koran” is an allusive Koranic commentary by the great Persian Sufi Rūzbehān Baqlī Širāzī. This thesis studies it in order to extract these very elucidations which are of theological, philosophical, cosmogonic, anthropological, spiritual and mystical order. In line with the Sufi tradition of the Golden Age, the author reveals the esoteric side of the Qur’an from his own spiritual experience. Its original hermeneutic axis is to read the Qur’anic text as a “description of proto-eternity”. Following him in his reading has unable unprecedented breakthroughs: Rūzbehān’s spiritual filiation to Ibn H̠afīf is better understood, as is the profile of the other masters from whom he draws his inspiration. His affiliation with Aš‘arisme is highlighted and a literary link is found with Abū Ḥāmid al-Ġazālī. The junction with neo-Platonism and Pythagorism is underlined while the study of a quotation attributed to Iraql the Wise evokes the phenomenon of hybridization specific to the rebirth of the Abbasids. The thesis studies the cosmogonies declined by the author as well as his anthropogenesis, based on the belief in the pre-existentiality of spirits. His perception of fiṭraẗ is elucidated, as an infusion into the human substrate of a Spirit which adds the Image of God to it. The mystical Rūzbehānian way, so influenced by Ḥallāǧ, is developed in all its stages. Are the clarifications of ‘Arā’is, in their coherence and clarity, the definitive synthesis of the spiritual magisterium of Rūzbehān Baqlī? His swan song? This thesis affirms it
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Evans, Sian Elizabeth. "Composition portfolio & Commentaries." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521769.
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Lee, Shung-wai, and 李崇偉. "Mixing narratives and commentaries." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B4269453X.
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Bakhouche, Béatrice. "Calcidius : "commentaire au timee de platon" chapitres 1 a 118. traduction et commentaire." Montpellier 3, 1986. http://www.theses.fr/1986MON30050.
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Calcidius, qui vecut probablement au debut du ve siecle de notre ere, ecrivit sur les instances de son ami(?) osius- une traduction du "timee" de platon suivie d'un long commentaire de 350 chapitres. Les chapitres 1 a 118 constituent la premiere partie de ce commentaire et calcidius, pour eclairer les pages 31 a 39 du dialogue platonicien, aborda trois grands domaines scientifiques : l'arithmetique (et arithmologie), la musique (et musicologie) et l'astronomie. Il ne fit pas en cela oeuvre originale car nous pouvons reconnaitre un certain nombre de textes que notre auteur a utilises. Son oeuvre cependant est interessante car elle reflete tout un courant de la litterature latine, illustre des le 1e siecle par pline l'ancien : la compilation. Il n'existait pas a ce jour de traduction de l'oeuvre de c. Et ce travail devrait en faciliter l'approcheCalcidius who lived probably at the beginning of the 5 th century a. Ghr. , writen -at the request of his firend(?) osiusa translation of the plato's timaeus continued by a long commentary of 350 chapters. The chapters 1 to 118 constitute the first party of this commentary and calcidius, for elucidating the pages 31 to 39 of the platonician dialogue, treaten three larges scientifics domains. Arithmetic (and arithmology), music (and musicology) and astronomy. There he doesn't made original work, because we can acknowledge some texts that our author used. Meantime his work is interesting because it reflects any current of the latin literature, illustrate from the first century by plinius major : the compilation. Still was no translation of the calcidius' work and this labour should make easier the access to a work yet not very famous
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Huh, Min-Jun. "Le premier commentaire de Boèce à l’Isagogè de Porphyre : introduction, traduction et commentaire." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040145.
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Notre thèse en deux volumes vise à donner une traduction inédite du premier commentaire de Boèce à l’Isagogè de Porphyre à partir de l’édition critique de Samuel Brandt publiée en 1906. De fait, Boèce s’appuie sur la traduction latine de Marius Victorinus et non, comme le suggère le titre, sur le texte grec de Porphyre. Le premier volume contient une introduction générale articulée en quatre parties: examen critique des études secondaires; les sources matérielles du premier commentaire de Boèce à l’Isagogè; le traitement des questions de Porphyre sur les universaux; et l’Isagogè de Marius Victorinus et la tradition rhétorique latine. Les thèses que nous défendons sont les suivantes : le commentaire perdu de Porphyre sur les Catégories (A Gédalios) pourrait avoir été la source principale de ce traité logique de Boèce ; historiquement, les trois questions de Porphyre ont été apparentées à la réfutation porphyrienne de la position anti-aristotélicienne de Plotin ; et, contrairement à Victorinus qui considère l’Isagogè comme une introduction aux Topiques de Cicéron, Boèce la conçoit dans la perspective néoplatonicienne qui fait d’elle une introduction aux Catégories d’Aristote. Cette introduction est suivie de la traduction française accompagnée du texte latin de l’édition de Brandt. Notre commentaire à la traduction est développé dans le second volume qui contient également une traduction française inédite du commentaire d’Ammonius à l’Isagogè de Porphyre et une réfutation de la thèse soutenue par Brandt dans ses prolegomena de son édition critique à propos des parallèles textuels attestés dans les commentaires à l’Isagogè de Boèce et d’Ammonius (cf. appendices 1 et 2)Our thesis in two volumes aims to give an original French translation of Boethius’s first commentary on Porphyry’s Isagoge based on the critical edition published by Samuel Brandt in 1906. Actually, Boethius commentary deals with the Latin translation of Marius Victorinus and not, as the title seems to suggest, with the greek treatise of Porphyry. The first volume contains a general introduction divided into four parts : a critical studies of the secondary sources; the material sources of the Boethian first commentary on Isagoge; the Boethian analysis of Porphyry’s three questions about universals; and Marius Victorinus’ Isagoge and the Latin rhetorical tradition. The thesis we defend in the introduction can be summarized as follows : Porphyry’s lost commentary on Categories (Ad Gedalium) may have been the main source of the first Boethian commentary on Isagoge ; historically, the three questions on universals had been related to the Porphyrian refutation of anti-Aristotelian position of Plotinus ; and, unlike Victorinus which considers Isagoge as an introduction to Cicero’s Topica, Boethius adopts the Neoplatonic perspective which makes it an introduction to Aristotle’s Categories. This introduction is followed by the French translation accompanied by the latin text edited by Brandt. Our commentary on the Boethian treatise is developed in the second volume, which also contains an original French translation of Ammonius’ commentary on Porphyry’s Isagoge and a full refutation of the thesis supported by Brandt in his prolegomena to his critical edition about the textual parallels attested in the Boethian and Ammonian commentaries on Isagoge (cf. appendix 1 and 2)
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Bodin, Camille. "Servius, commentaire sur "l’Énéide" de Virgile (livre V) : introduction, traduction, annotation et commentaire." Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCC018.
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Rédigé vraisemblablement à la fin du IVe siècle, à une époque où l’enseignement traditionnel des écoles romaines se maintient et où le paganisme cherche à conserver sa place face au christianisme, le commentaire de Servius à l’Énéide de Virgile, dont le livre V fait l’objet du présent travail, est une œuvre particulièrement importante. Il est destiné à ouvrir à ses auditeurs (les élèves de la classe de Servius), puis à ses lecteurs, la possibilité de mieux comprendre le texte virgilien, et il offre au spécialiste moderne de multiples traces de rites, croyances, pratiques et récits mythologiques qui, sans la richesse de ses développements, resteraient inconnus. Le commentateur laisse parfois percevoir au fil de ses remarques sa vision de l’époque de Virgile et de la sienne propre, et il livre aussi des éléments d’information concernant la réception de l’Énéide dans l’Antiquité tardive. L’intérêt de l’ouvrage est doublé du fait que s’y sont entremêlés ensuite des ajouts d’origines diverses transformant pour ainsi dire le commentaire de Servius en un second commentaire, connu sous l’appellation de « Servius Danielis », présent dans certains manuscrits médiévaux. C’est pour toutes ces raisons que nous proposons, après une introduction consacrée à ses thématiques centrales, une traduction complète de ce double commentaire servien au livre V de l’Énéide de Virgile, en accompagnant et documentant cette traduction par les notes nombreuses et détaillées que réclament la richesse et la complexité de ce travail caractéristique des savants que l’Antiquité appelait des « grammairiens »Most certainly written at the end of the 4th century, at a time when traditional teaching from roman school persists and when paganism tries to keep its position facing Christianity, Servius’ Commentary on Virgil’s Aeneid, whose book V is the subject of this study, is a particularly significant work. It is intended to permit the listener (Servius’ students), then the reader, to better understand Virgil’s text and offers to modern specialists many vestiges of rituals, beliefs, practices and mythology’s stories that, without the richness of its body, certainly wouldn’t be known nowadays. The commentator sometimes suggests, throughout his remarks, the vision he has of the Virgil’s time as being his own time and he also gives some information about the Aeneid’s reception in the last Antiquity. The interest of the book is doubled because the text is mixed with elements from diverse origins; it turned the commentary into a second one, known as “Servius Danielis” text and present in some manuscripts. That is why we offer, after an introduction devoted to the main themes of the book, a complete translation of this double servian commentary at the Virgil Aeneid, book 5; this translation goes with many detailed commentaries needed due to the richness and the complexity of expert’s typical work which Antiquity called “grammarian”
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Bowcher, Wendy Lee. "Play by play talk on radio : an enquiry into some relations between language and context." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368682.
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The theol)' that informs this study is Systemic Functional linguistic theory, The major focus of this study is on the description of the register of play-by-play talk. The data for this study was collected by recording onto cassette tapes several Australian Rugby League commentaries from different radio stations. The data primarily used in this study are two Australian Rugby League radio commentaries: one from the commercial radio station, 2GB, and the other from the Australian national radio station, ABC. Both commentaries took place on Sunday afternoon on the 14th July, 1996, and they focus on the same event: the Rugby League professional match between the North Sydney Bears and the Sydney City Roosters. The research focuses on the language which is used to relay the game, 'play-by-play talk'. Although it is generdlly agreed that there is such a thing as 'play-by-play talk', there is scant research into the specific characteristics of this talk, or into the contextual features which motivate it. Thus, in order to study this specific variety of language, the study begins by making a broad-based description of the textual and material environment of play-by-play talk. It is argued that the textual environment consists of two language activities: the 'Sunday Afternoon Sports Broadcast' and the 'commentary'. The description focuses on the linguistic frames that distinguish these two language activities from those which precede and follow them. The study then constructs an operational definition of play-by-play talk and applies some linguistic criteria to the language of the commentary in order to extract language which satisfies this definition. To this end, the linguistic criterion which proves to be most useful is the successive-temporal conjunction and now. Play-by-play talk is found to be a monologic language variety which enters the talk of the commentary at different points in time and for varying time periods. Once play-by-play talk is extracted from the talk of the commentary, it is analysed from three different grammatical perspectives: the interpersonal, the experiential and the textual. The results of the analyses are quantified and displayed in a series of tables and diagrams, and the patterns of choices which emerge from the analyses are discussed in terms of a description of the register properties of play-by-play talk and in terms of the kind of contextual information construed. Chapters Five, Six and Seven end with a summary profile of the grammatical choices along with a summary of the kind of contextual information these choices construe. Some of the findings from this study are that the subject matter of play-by-play talk centres on a very limited set of activities and participants; that individuals are prioritised; that the activities of the game of Rugby League are construed as active, aggressive, and often violent in nature; that there are few grammatica1ised attitudes; and that the text is structured in a way that mirrors the actions which it is encoding. The approach and findings of this research highlight some ways in which a register may be located, analysed and profiled.
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Paul, Ian. "The value of Paul Ricoeur's hermeneutic metaphor in interpreting the symbolism of Revelation chapters 12 and 13." Thesis, Nottingham Trent University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298840.
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LO, CONTE Francesco. "Georgii Vallae placentini in Iuvenalis Satyras Commentarii." Doctoral thesis, Università degli studi di Bergamo, 2013. http://hdl.handle.net/10446/28631.
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The present thesis intends to be the first critical edition of the commentary on the Satires of Juvenal published by Giorgio Valla (1447-1500) in Venice in 1486. The significance of this commentary that holds many meaningful traces of the corpus of scholia vetustiora on Juvenal under the name of an otherwise unknown Probus, has been recognized by scholars in the last century. The thesis is divided in four sections: introduction, note on text, commentary with apparatus, indexes. The introduction exposes an outline on the juvenalian studies and lectures in the second half of XVth century undertaken by scholars such as Angelo Sabino, Domizio Calderini and Giorgio Merula, focusing on the more significant contributions of the Giorgio Valla's commentary in the textual criticism and exegesis of the Satires. The introduction also includes a brief summing-up of the classical sources, latin and greek, openly mentioned or word-for-word quoted in the commentary. The note on text deals with the editing standards used in this thesis and also contains some marks on the relationship between the lemmas of the commentary and the text of Juvenal whose margins were filled by the commentary, according to an usual typographic dress for scholastic texts, attempting to define which kinds of handwritten sources of the Satires Valla was able to handle with. The third section is the outright commentary (extended on more than 300 pages in modern format) with a textual apparatus arranged in footnotes that also includes some references to classical sources used but not outspoken by the humanist. The thesis is concluded by three different kinds of indexes (index of classical sources, index of variants, index of names) thought as an useful help for scholars who in future will need to consult this commentary.
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Tavonatti, Paolo. "Francisci Porti cretensis commentaria in Aeschyli tragoedias." Doctoral thesis, Paris, EHESS, 2010. http://www.theses.fr/2010EHES0145.
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La thèse est l'édition critique des commentaires de l'humaniste crétois François Portus aux sept tragédies d'Eschyle. L'édition est complétée d'une introduction biographique, historique et culturelle de l'auteur. Elle est suivie par un commentaire des commentairesThe work is the critical edition of Frandscus Portus' commentaires on Aeschylus' tragedies. The edition is completed by an introduction (about author's life, historical and cultural context) and the analysis of commentaries
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Tavonatti, Paolo. "Francisci Porti Cretensis Commentaria in Aeschyli Tragoedias." Doctoral thesis, Università degli studi di Trento, 2010. https://hdl.handle.net/11572/368270.
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La tesi contiene l'editio princeps dei Commentaria dell'umanista cretese Francesco Porto (1511-1581) alle tragedie superstiti di Eschilo, primo commentario della tradizione occidentale all'intero corpus dell'Eleusino.
L'edizione critica è preceduta da un'introduzione storico-biografica, in cui si indagano i contesti culturali in cui ha operato l'autore e che hanno influito sulla sua attività intellettuale. Segue un capitolo più generale sull'esegesi eschilea di Porto e sulla contestualizzazione dei Commentaria nel genere del commentario umanistico.
L'edizione è accompagnata da un commento dei Commentaria, analizzati da un punto di vista non solo strettamente filologico, ma anche storico, retorico e stilistico.
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Villemin, Danièle. "Réécouter, réécrire. Évolutions du discours descriptif en classe de troisième. Didactique du lexique en éducation musicale." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040112.
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Le commentaire d’enregistrement à l’écrit mobilise de nombreuses compétences liées à la perception et à la rédaction. Ce travail, conçu avec la volonté d’un rapprochement interdisciplinaire, tente de montrer l’influence de la révision autonome de l’écrit ainsi que celle des œuvres écoutées sur des textes d’élèves de troisième. Les bases théoriques sont celles de la psychologie de l’audition et de la linguistique. L’effet dominant de la maîtrise de la langue s’estompe à la faveur d’une description systématique et globale du vocabulaire recueilli. Cette thèse rassemble des outils d’analyse de contenu originaux élaborés en fonction du corpus. Les apports sont donc essentiellement d’ordre méthodologique. Les indicateurs retenus permettent d’évaluer les écarts de densité informative selon l’œuvre écoutée et selon le rang d’écriture du commentaire. La synthèse des résultats montre les possibilités de détermination d’une typologie des écrits et révèle certains aspects stylistiques et formels des œuvres supports par l’observation raisonnée des zones d’intensification lexicaleWriting a commentary after a listening exercise mobilizes several skills linked to perception and drafting. This thesis, aiming at an interdisciplinary approach, attempts to describe the influence of autonomous revision and of the piece of music heard on commentaries written by pupils in the fourth form. Its theoretical foundations are found in audition psychology and linguistics. The primary role attributed to language skills gives way to a systematic and holistic description of the compiled vocabulary. For this thesis, original content analysis tools have been designed, based on the corpus. Its contribution is thus essentially methodological. The selected indicators enable us to assess the disparities in informative density according to the piece heard and the drafting register of the commentary. Based on a synthesis of the results obtained, it is thus possible to establish a typology of written commentaries and bring to light some stylistic and formal aspects of the selected pieces of music through a reasoned analysis of lexical intensification areas
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Howard, Emily. "Portfolio of compositions : commentary." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528255.
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Maronidis, Dimitrios. "Folio of compositions : commentary." Thesis, University of York, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550327.
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Crisell, Andrew. "Commentary on 'understanding radio'." Thesis, University of Sunderland, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263476.
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O'Neil, Kevin. "Composition portfolio with commentary." Thesis, University of Southampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432632.
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Delacour, Adam. "Composition portfolio with commentary." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432624.
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Flanagan, Kevin. "Composition portfolio and commentary." Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436820.
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