Dissertations / Theses on the topic 'Virgil reception in the 20th Century'

Aeneas in the Antipodes offers an Australian perspective on the teaching of Virgil�s poetry in the secondary school. The study examines practices in the State of New South Wales from 1900 to the early years of the twenty-first century. The changing role of Latin in the curriculum is traced through a historical account showing the factors which caused a decline in the status and popularity of the subject from the beginning of the century to the 1970s. This decline, not confined to Australia, stimulated the introduction of new teaching methods with different emphases which were, to some extent, successful in preserving Latin from extinction in schools. Against this background of change, Virgil remained the Latin author most frequently studied in the final year of school. Because this poetry was so consistently prescribed for public examinations, a detailed investigation is made of the questions set and of the examiners� comments on candidates� performance, as evidence of changes in expectations and hence, in teaching methods. The influence of trends in Virgilian scholarship is assessed by means of a review of all the officially recommended commentaries and secondary works. The growth of literary criticism from the 1960s is shown to have had a marked effect on syllabuses and examinations, and consequently on the approach taken in the classroom. The role of local professional organizations in supporting the teaching of Virgil has been documented, showing how the disappearance of official support for Latin teaching was to some extent counterbalanced by an increase in voluntary effort. The resources and methods used to introduce Virgil to comparative beginners are classified and reviewed. An assessment is also offered of approaches made to teaching Virgil in English at both junior and senior secondary levels. The final chapter reviews the changes brought about since 2000. Current teaching practices are documented through classroom observations and teacher surveys, substantiating the impression that while most students at the beginning of the twenty-first century are less prepared than their predecessors to translate Virgil independently, they are expected to attempt a far more sophisticated analysis of the literary features Note: For appendix 3-10 please see hardcopy edition.

In my thesis I will study how the revolutionary philosophy of Karl Marx and Friedrich Engels was received and interpreted by early 20th century Russian intellectuals in an attempt to reconcile orthodoxy with the real conditions present in Russia. Through analysis of documents spanning several decades of debate, I will trace the evolution of this discussion to unlock the logic that led to philosophy put to action in the form of revolution. Finally, I will evaluate how this logic fits into the historic trajectory described by Marxism.

The present thesis explores the history of interpretations of Rousseau’s political philosophy in the last one hundred years in China. Ever since the introduction of Of the Social Contract into China at the beginning of the twentieth century, Rousseau became one of the few western thinkers who greatly influenced how the Chinese perceive modern society and politics. Rousseau’s political ideas first generated a growing number of interpretations from 1898 to 1920. In these interpretations, his work was portrayed as the epitome of modern democracy, and his teachings were considered the cure for social problems in China at the time. However, in the recent three decades in China, scholars interpreted his political writings differently. Some even accused him of being the advocate of totalitarianism, and his political theories the theoretical support of dictatorship of the French Revolution. Such different interpretations in different periods of the Chinese reception of his political philosophy raised the question: what caused the distinctive alteration of Rousseau’s image in the last century in China? This thesis intends to provide a possible answer by examining the movement and evolution of interpretations of his political philosophy over the past century. In this examination, I first introduce the methodology and the theoretical foundation of this dissertation: Gadamer’s hermeneutic method in interpreting a text, and Rousseau’s political philosophy as a whole. In part two and part three, the history of the Chinese interpretations will then be divided into two phases in accordance with the alteration of Rousseau’s image over time. I present and briefly analyze different interpretations of his political theories to provide a thorough overview, as well as different characteristics of the interpretations from both phases. I then employ Gadamer’s hermeneutic method to analyze three interpretations that were most influential in these phases to argue that even though some interpretations contained inaccurate accounts of Rousseau’s texts, all fulfilled the hermeneutic task of understanding these texts in different phases. The cause of the alteration of Rousseau’s image in the last century is the alteration of interpreters’ hermeneutic horizons in different times. As the process of understanding his political writings evolved through the last century in China, these texts constantly generates new fusions of the horizon of the author with the horizons of the interpreters.<br>published_or_final_version<br>Philosophy<br>Doctoral<br>Doctor of Philosophy

The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.

Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.

This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.

In this essay the reception of Helena Munktell’s 1885 1921 compositions are mapped andanalysed. The term reception is used to express to what extent Munktell’s compositions wereperformed, and also how they were received in newspaper reviews. The reception is studiedholistically. This means that all identifiable concerts and all accessible newspaper reviews havebeen taken into consideration, and that the mapping and analysis aims to demonstrate how thereception differs between genres and countries, as wel l as how it changes over time.Helena Munktell (1852 1919) was a Swedish composer, pianist, and singer. Hercatalogue is concise, but she composed music in several different genres. In 1915 she wasinducted into The Royal Swedish Academy of Music Munktell was active in both Sweden andFrance, and her work shows traces of Swedish folk music as well as French style elements. Shestudied composition with a number of teacher s, both in Stockholm and Paris. Her mostinfluential teacher was Vincent d’Indy. Through him directly, and César Franck indirectly, hercompositions came to include neo French mannerisms such as cyclic form, colourful chordchanges, and downplaying the imp ortance of melody in favour of harmonic progression.The analysis was done in four stages. In the first stage facts were collected. Thebulk of the source material was gathered from a scrapbook with reviews from Munktell ’sposthumous collections, and from the national database of Swedish newspapers Svenskadagstidningar In the second stage a calendar of all identifiable concerts was comprised. In thethird stage an account of all compositions, concerts, and reviews for each respective genre wascreated. In the fourth stage the results were analysed from a historical perspective and fromPierre Bourdieu’s theory on capital and fieldApproximately 140 concerts have been identified. The vocal genres are dominantmore than half of the performances concern works for vocal soloists. The opera I Firenze wasperformed in Stockholm 13 times. This accomplishment can be attributed to the fact thatMunktell had an abundance of what Bourdieu call s cultural and social capital. The opera andthe vocal performances were almost exclusively well reviewed. Munktell’s compositions werealso successful in France. She became a member of the prestigious organisation SociétéNationale de Musique where several of her compositions were performed. Three of her fourorchestral works were premiered in France, as was her violin sonata. Munktell’s success inFrance can be explained partly by her compositions having a strong French influence, and thefact that cultural capital is highly valued in France. Dalsvit was the only orchestral work thatwas performed in Sweden during her lifetime and it received very mixed reviews. The violinsonata is the instrumental composition that w as performed the most. It received mixed reviewsin the daily newspapers at the time of its first performance in Stockholm in 1905, butconsiderably more positive appraisal after the memorial concert at The Royal Swedish Operain 1921. This can be explained by the societal interest and appreciation of German musicaldominance giving way to F rench musical styles in a different way in 1921.The account from Swedish Musical Heritage Anders Edling’s biography onHelena Munktell, saying that all contemporary re views of Munktell as a composer were positiveis incorrect; they were mixed, varying between genres, and changing over time.A similar analysis could be carried out concerning other composers works. Suchan analysis would make it possible to compare the reception between two or more composers’work, but also how their different prerequisites may have influenced their reception.<br>I uppsatsen kartläggs och analyseras receptionen av Helena Munktells kompositioner under åren 1885–1921. Med reception avses dels i vilken utsträckning Munktells kompositioner blev framförda, dels hur de blev mottagna i tidningsrecensioner. Receptionen utforskas ur ett helhetsperspektiv. Det betyder att alla identifierbara konserter och alla tillgängliga recensioner omfattas och att kartläggningen och analysen syftar till att åskådliggöra hur receptionen skiljer sig åt mellan genrer och mellan länder liksom hur den förändras med tiden.  Helena Munktell (1852–1919) var en svensk tonsättare, pianist och sångerska. Hennes verkförteckning är kort men hon komponerade i ett flertal genrer. År 1915 blev hon invald som tonsättare i Kungliga Musikaliska Akademien. Munktell var verksam i både Sverige och Frankrike och i hennes verk finns såväl svenska folkmusikinfluenser som franska stilelement. Hon tog lektioner i komposition för ett flertal lärare, både i Stockholm och Paris. Den lärare som påverkade henne mest var Vincent d’Indy. Genom honom och därmed indirekt genom César Franck kom hennes kompositioner att inrymma stildrag från den nyfranska skolan: cyklisk form, färgskapande ackordväxlingar och nedtoning av melodins betydelse till förmån för harmonisk progression. Undersökningen har genomförts i fyra steg. I första steget samlades fakta in. Huvud-sakligt källmaterial var en klippbok med recensioner från Munktells efterlämnade samlingar samt recensioner från databasen Svenska dagstidningar. I andra steget togs en kalender fram omfattande alla identifierade konserter. I tredje steget utarbetades en redogörelse över kompositioner, konserter och recensioner för respektive genre. I fjärde steget analyserades resultatet ur ett historiskt perspektiv och utifrån Pierre Bourdieus teorier om kapital och fält. Cirka 140 konserter har identifierats. De vokala genrerna dominerar och över hälften av konserterna avser solosång. Operan I Firenze framfördes i Stockholm 13 gånger. Denna bedrift kan till viss del förklaras med att Munktell hade god tillgång till det Bourdieu kallar kulturellt och socialt kapital. Operan och solosångerna fick nästan uteslutande goda omdömen i recensionerna. Munktells kompositioner rönte stora framgångar i Frankrike. Hon blev medlem i den prestigefyllda föreningen Société Nationale de Musique där flera av hennes kompositioner framfördes. Tre av hennes fyra orkesterverk uruppfördes i Frankrike, så också hennes violinsonat. Munktells framgångar i Frankrike kan förklaras dels med att hon till stor del komponerade i fransk stil, dels med att kulturellt kapital värderas mycket högt i Frankrike. Dalsvit var det enda orkesterverk som framfördes i Sverige under hennes levnad och den renderade starkt skiftande omdömen. Munktells violinsonat är den instrumentala komposition som framfördes mest. Sonaten fick ett blandat bemötande i dagspressen efter framförandet i Stockholm 1905 men betydligt positivare omdömen efter minneskonserten på Kungliga Operan 1921. Detta kan förklaras med att den tyska musikstilens dominans hade mattats av och att de franska stildragen uppskattades på ett annat sätt 1921.  Uppgiften i Anders Edlings biografi över Helena Munktell i Levande musikarv om att alla samtidens omdömen om Munktell som tonsättare var positiva stämmer inte; de var skiftande, skiljde sig åt mellan genrer och förändrades med tiden.  En motsvarande undersökning skulle kunna genomföras rörande andra tonsättares verk. En sådan studie skulle göra det möjligt att jämföra receptionen av tonsättarnas verk och också jämföra vilken betydelse tonsättarnas olika förutsättningar kan ha haft för receptionen.

The present study opens up the field of Catalan connections with English literature. The importance of Edwardian influences on the general transmission of English authors and works is demonstrated. Original data on the reception of G.K. Chesterton, the Edwardian figure with a most remarkable impact in Catalonia, is brought to light (Chapter 1, Appendix 1), followed by discussion of the presence of H.G. Wells and G.B. Shaw and an account of the reception of Well's early fiction (Chapter 2); their influence sheds new light on the aspiration of an élite to modernise Catalan culture. Catalan translations of English fictional works produced in the period 1918-38 (Chapter 3, Appendix II) are linked to the reception of the roman anglais in the context of the crisis of the roman à thèse, and the meditating influence of French criticism is revealed. The values of romance, adventure, and the common man (from Defoe to Stevenson, from Stevenson to Conrad) constitute the recurrent thread associated with the English tradition and with the Edwardian fictional canon, as these were mediated from France to Catalonia. This panorama of transmission enhances an understanding of Catalan views of the novel, in the light of Edwardian values (Chapter 4), as exemplified in Carles Riba's critical appraisal of two Catalan authors, in the appeal of Joseph Conrad's narrative technique and its influence on J.M. de Sagarra, as well as in the comparison of Frank Swinnerton's Nocturne (a best-seller of 1917) and its Catalan counterpart, M. Teresa Vernet's Les algues roges. This thesis also includes a chronology of the reception of Chesterton and a list of Catalan translations of English works of fiction.

The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.

This dissertation re-examines an era in the production and reception of English language poetry in South Africa by black writers. Intellectually the 1970's was the Black Consciousness phase of South African history and very few aspects of life in the country were untouched by the intellectual movement led by Steve Biko and other young black student leaders. The aesthetic and literary output of the time, like all other facets of South African life, exhibited the influence and pressures brought to bear by Black Consciousness. Moreover, the Black Consciousness poets introduced the most vibrant and innovative phase for English language poetry produced in South Africa. It is my contention, however, that such vibrancy and innovation has consistently been compromised by unsympathetic, often hostile, and almost-always ill-informed criticism. The dissertation offers a critique of the academic and journalistic practice of criticism in South Africa. I argue that critical practice in South Africa has been engaged throughout the twentieth century in the discursive enforcement of ‘discipline’. In his Discipline and Punish (1977) the French post-structuralist philosopher Michel Foucault demonstrated how power is wielded against oppressed/suppressed groups through self regulated proscriptions, and argued that power is a discursive rather than a corporeal phenomenon. My dissertation follows Foucault in reading the critical reception of Black Consciousness poetry as the practice of disciplinary power. The dissertation also engages critically with the poetry of Oswald Mtshali, Mongane Serote and Sipho Sepamla, and argues that their work is the inscription of black subjectivity into the literary and cultural mainstream. It situates their work within wider 6 societal debates and definitions of ‘blackness’. In this regard use is made again of Michel Foucault’s insights and methodology of discourse analysis as shown in The Archaeology of Knowledge (1972). I argue that Oswald Mtshali’s work is a failed attempt at a dissection of apartheid and colonialism from a broadly Christian and humanist perspective. In my reading of Mongane Serote I explore the relationship between women’s bodies and the practice of representation. It is my contention that Serote is most concerned with claims of belonging, and this is shown through his extensive use of the trope of ‘Mother’. My discussion of the poetry of Sipho Sepamla focuses on language and (self- )representation, particularly the use of practices of naming in constructing subjectivity. My contention is that Sepamla ultimately abandons attempts at representation in favour of oppositional self-construction in language. In the concluding chapter I defend the thesis that the politics of discipline have prevented the broad critical establishment from gaining access to these discursive constructions of blackness in the committed poetry of South Africa.

The thesis aims to analyse the reception of the ancient Greek drama by the Italian scholar Ettore Romagnoli (1871-1938), considering his critical essays, translations, and theatre performances. The mutual interaction of these three aspects represents the methodological approach to understand how Romagnoli conceived the interpretation of Greek theatre and its dramatic production in the modern age. The thesis consists of three parts. The first one analyses Romagnoli’s ideas on classical studies and the modern translations of ancient Greek poetry within the Italian culture in the early 20th Century and in opposition to the positivist approach in the classical philology and the Neo Idealistic Aesthetics. Furthermore, an exam of the entire work of Romagnoli as stage director is offered, along with the reconstruction of a mainly unknow controversy after his dismissal from the National Institute of Ancient Drama. The second part analyses Romagnoli’s academic studies on the hypothetical performance of ancient tragedy and comedy and the evolution of Greek poetry from music. It also identifies the possible influence of these theories within his own translations and performances. The last part deals with two examples of translations for the stage: the "Agamemnon" (1914) and the "Bacchae" (1922). On the basis of theatre translation studies and thanks to Romagnoli’s editions of the two works, both placed at his archive and library in Rovereto and rich of notes by the translator himself, the analysis attempts to examine the hypothetical performability and speakability of the two texts and whether cuts or modifications were introduced during the stage productions.<br>La ricerca si propone di condurre un esame il più possibile esaustivo dell’opera del grecista Ettore Romagnoli (1871-1938) come esegeta, traduttore e metteur en scène del dramma antico. Grazie all’analisi della reciproca interazione di questi tre aspetti si è tentato di comprendere come il grecista abbia concepito l’interpretazione del teatro greco e ne abbia progettato la ‘reinvenzione’ drammatica. Il lavoro si suddivide in tre parti. Nella prima viene condotta una ricostruzione della carriera di Romagnoli nel contesto storico-culturale di inizio Novecento, analizzando le sue idee sul rinnovamento degli studi classici e sull’aggiornamento delle traduzioni della poesia greca. In questo quadro assumono notevole rilievo le polemiche condotte da Romagnoli in opposizione alle maggiori correnti accademico-culturali dell’epoca: l’estetica crociana e la filologia scientifica. Inoltre, l’analisi prende in esame l’idea di messinscena e le produzioni dirette da Romagnoli a partire dagli spettacoli universitari (1911-1913) fino alle rappresentazioni teatrali svolte a Siracusa e in altri teatri e siti archeologici d’Italia (1914-1937), insieme alla ricostruzione di una terza polemica, definita ‘siracusana’, che coinvolse il grecista in seguito alla sua estromissione dall’Istituto Nazionale del Dramma Antico. La seconda parte prende in considerazione gli studi scientifici e divulgativi di Romagnoli circa la ricostruzione dell’ipotetica performace della tragedia e della commedia di quinto secolo a.C. e l’evoluzione della poesia greca dalla musica, individuando, inoltre, le possibili rielaborazioni di queste teorie all’interno delle traduzioni e degli spettacoli teatrali. Nella terza parte si analizzano le traduzioni di "Agamennone" e "Baccanti" che Romagnoli portò in scena a Siracusa. Si è tentato di valutare, anche sulla base degli studi teorici relativi alla traduzione per il teatro, quanto l’attenzione alla ‘performabilità’ e alla ‘dicibilità’ del testo ne avesse influenzato la composizione oppure se fossero stati introdotti tagli e modifiche in fase di produzione degli spettacoli. Le due edizioni di "Agamennone" (1914) e "Baccanti" (1922) che facevano parte della biblioteca privata di Romagnoli presentano infatti annotazioni dell’autore riconducibili proprio ai suoi allestimenti per gli spettacoli al Teatro greco di Siracusa. Il lavoro ha potuto avvalersi di scritti inediti, articoli di giornale e documenti privati custoditi negli Archivi della Fondazione INDA e presso il Fondo Romagnoli, dal 2016 proprietà dell’Accademia Roveretana degli Agiati e attualmente in catalogazione presso la Biblioteca civica “G. Tartarotti” di Rovereto.

This study examines the birth of television and the modern media corporation that launched it, through the archives of the designer of the "first" set, John Vassos, a Greek-born American industrial designer, interior decorator, and illustrator (1898-1985). Vassos's early career is used as a case study to analyze the historical and cultural forces that shaped the emergence of this new media and the new profession of industrial design, through archival materials housed in the Archives of American Art at the Smithsonian Institution in Washington D.C. and at Syracuse University. Specifically, this thesis unites various parts of Vassos's early career, from his modernist illustrations to industrial design, through the aesthetics and practices of modernism. As RCA's lead industrial designer for over 40 years, Vassos was involved in the design and promotion of RCA's electronic products, including radios and televisions and studio equipment. Vassos also designed the new spaces carved out for their use in the home including the "living room of the future" featured at the 1939 World's Fair. Drawing from his skills as an illustrator, designer and display expert, Vassos helped develop RCA's public image at a time of its greatest expansion in radio and television manufacturing and broadcasting. This reading of Vassos's work is both diachronic, taking into account his work over the early part of his career to analyze his specific contribution and synchronic, in relationship to other designers working contemporaneously. Thus, this thesis explores Vassos's double role as a participant, with active agency within the emergence of the new field and as a subject, constrained by social roles and forces. Ranging from turnstile to the transmitter, Vassos along with other industrial designers used the streamlined aesthetic to create visual unity among mechanical and electronic products, from home to office, from subway to skyline.

La presente investigación germina en la necesidad de estudiar la recepción creadora de Juan de la Cruz (1542-1591) en la lírica iberoamericana del siglo XX. Partiendo de una perspectiva metodológica orientada por la Teoría de la Recepción, se estudia la concreción y el sentido de la recepción creadora del poeta místico del siglo XVI en los libros de poesía Cántico espiritual (1942) de Blas de Otero, Las estrellas vencidas (1964) de Clara Janés, El fulgor (1984) de José Ángel Valente, Graons (1979) de Ramón Xirau, Telescopio en la noche oscura (1993) de Ernesto Cardenal y Tálamo (2013) de Minerva Margarita Villarreal. La recepción de Juan de la Cruz, en general y desde sus primeros receptores, genera conciencia de la experiencia: mística, erótica o poética; en particular, la obra de Juan de la Cruz significa en la lírica del siglo XX lo que significó para cada uno de sus poetas receptores.<br>This investigation arises from the need to study John of the Cross’s (1542-1591) creative reception in 20th century Ibero-American poetry. Starting from a methodological perspective guided by Reception Theory, creative reception’s concretion and meaning of the 16th century mystical poet are studied in poetry books Cántico espiritual (1942) by Blas de Otero, Las estrellas vencidas (1964) by Clara Janés, El fulgor (1984) by José Ángel Valente, Graons (1979) by Ramón Xirau, Telescopio en la noche oscura (1993) by Ernesto Cardenal and Tálamo (2013) by Minerva Margarita Villarreal. John of the Cross’s reception generally, and from it’s first receptors, generates experience awareness: mystical, erotic or poetic; in particular, John of the Cross’s works means in 20th century’s poetry what it meant for each of its receiving poets.

Le but de cette thèse est de comprendre pourquoi la poésie d’Adrienne Rich (1929-2012), autrice étatsunienne majeure, est absente du champ littéraire français. Poétesse prolifique, Adrienne Rich reçut de nombreux prix littéraires tout au long de sa carrière. Essayiste, elle fut une théoricienne du mouvement féministe étatsunien. Des recueils de ses poèmes ont été publiés dans une vingtaine de langues dans le monde. En français, une quinzaine de poèmes d’Adrienne Rich a été traduite et publiée sur divers supports (anthologies, revues littéraires, blogs). Un recueil a été conçu en collaboration avec la poétesse, mais il n’a jamais été publié à ce jour. Malgré différentes tentatives pour accueillir la poésie d’Adrienne Rich en France (traduction de ses essais, inscription au programme de l’agrégation, lecture en librairie) elle est toujours en 2019 dans une situation ambiguë de présence mais d’invisibilité pour le lectorat français. Nous chercherons donc à expliquer cette réception en suspens en examinant d’abord les traductions de poèmes d’Adrienne Rich publiés en français. Qui en sont les auteurs et autrices ? Quelles sont leurs pratiques et les caractéristiques de leurs traductions ? Leurs travaux s’inscrivent dans le sous-champ éditorial de la poésie traduite en France qui sera analysé pour en identifier les dynamiques, les acteurs et actrices, les supports de diffusion. À la lumière de ces analyses qui relèvent de la sociologie de la traduction et de la réception, nous comparerons le cas de la poésie d’Adrienne Rich avec d’autres poètes mais surtout d’autres poétesses étatsuniennes contemporaines. Dans ce contexte de réception, il faut aussi prendre en compte l’histoire des idées. En effet, l’œuvre d’Adrienne Rich est marquée par l’engagement féministe de l’autrice, ce qui représente une caractéristique significative pour le transfert culturel que constitue la traduction. Nous nous intéresserons donc à l’histoire des mouvements mais aussi des courants de pensée féministes aux États-Unis et en France depuis les années 1960. Enfin, dans une démarche prospective, ce travail se propose d’envisager les modalités de conception d’un recueil de poèmes d’Adrienne Rich traduits en français à l’aune de l’analyse du champ éditorial de la poésie en France et d’une lecture microtextuelle des poèmes déjà traduits. Nous illustrerons cette réflexion par des traductions ou retraductions de quelques textes : comment traduire une poésie féministe ?<br>The aim of this thesis is to understand why the poetry of Adrienne Rich (1929-2012), the major United States poet, is absent from the French literary field. Adrienne Rich was awarded numerous literary prizes throughout her prolific career. As an essayist, she was one of the first theorists of the feminist movement in the United States. Collections of her poems have been published in almost twenty languages worldwide. In French, fifteen of her poems have been translated and published in different forms (anthologies, literary magazines, blogs). A collection was being drawn up in collaboration with the poet, but to this day has never been released. Despite several attempts to introduce her work in France—some of her essays have been translated, a collection of her poems was in the agrégation curriculum, and she was invited to read her work in a bookshop—in 2019 it remains largely invisible to French readers. This thesis will thus try to explain this “arrested” reception first by examining the translations of Rich’s poems which have been published in French. Who translated her poetry? How can we characterise their translations? Their work is part of the French subfield of translated poetry which will be analysed so as to identify what is at stake, who is involved and how the poetry is distributed. In the light of these analyses which come under the sociology of translation and of reception, the case of Adrienne Rich’s poetry will be compared with other US male and especially female poets from the same period. In this reception context, addressing the history of ideas is crucial. Indeed, Adrienne Rich’s work is marked by her engagement with feminism, which is a significant element in the cultural transfer which translation represents. As such, the history of feminist movements and theories in France and the United States since the 1960s will be subjected to close analysis. Lastly, in a prospective approach, this thesis will focus on the conditions for the possible publication of a collection of Adrienne Rich’s poetry translated into French, in light of the analysis of the publishing field of poetry in France and of a microtextual reading of her previously published poems. These considerations will be illustrated by new translations or retranslations of selected poems. At the heart of this research lies the question: how is feminist poetry to be translated?

Le sujet inédit de la thèse repose sur un fonds d’archives. Il questionne la réception du sculpteur néoclassique italien Antonio Canova (1757-1822) dans les cercles et salons mondains à travers la correspondance de personnalités françaises aux profils multiples, du Consulat, de l’Empire et de la Restauration. Au gré des lettres, se dessine l'image d’un artiste aux prises avec des intérêts économiques, artistiques et sentimentaux. La séduction opère auprès des Napoléonides lui assurant protection et commandes ; elle gagne aussi les représentants du pouvoir à Rome et les salonnières pris au jeu de la délicatesse et du charme des compositions de l’Italien. La recommandation apparaît comme un mode de communication privilégié entre artistes et reflète la vitalité de ce type de lettre ainsi que la diversité des réseaux. La correspondance met en évidence le changement de statut de l’artiste qui adapte sa célébrité aux exigences de ses commanditaires en devenant un véritable homme d’affaires. Partagé entre désir d’émancipation et fidélité aux choix esthétiques de son mentor Quatremère de Quincy, Canova livre une production polymorphe qui le fait apprécier de la critique et du public qui cherche à voir en lui l’héritier moderne des sculpteurs grecs : mais ses rares présences et expositions à Paris limitent son impact. L’influence du premier romantisme dans la peinture néoclassique imprègne la production canovienne lui conférant son originalité. L’étude des missives fait surgir des questionnements historiques, matériels et esthétiques dont les épistoliers de Canova sont les témoins<br>The novel subject of this thesis is based upon archive material. It is centered on how the work of Italian neo-classical sculptor Antonio Canova was received in the most glamorous clubs and salons, through the study of letters exchanged by French celebrities from different walks of life during upon the periods of the Consulate, the Empire and the Restauration. Letter after letter, the image of an artist confronted with économie, artistic and sentimental challenges emerges. He succeeds in winning over the Napoleonides who grant him their patronage and their protection. He also gains the support of government représentatives in Rome and of fashionable women who are enraptured by the charm and the refinement of the Italian sculptor’s compositions. Référencés appear as a privileged form of exchange between artists, and reflect the vitality of this type of letter, and the variety of networks.Correspondence demonstrates the changing status of the artist who adjusts his réputation to the demands of his patron, thus becoming a true businessman. Torn between his longing forfreedom and his commitment to the artistic leanings of his mentor Quatremère de Quincy, Canova's production has many facets, which endear him to critics and to the public who wishes to see him as the modem heir of Greek sculptors. Yet as he rarely visits Paris and his work is rarely exhibited there, his impact is limited. The influence of early romanticism on ne classical painting permeates Canova’s works, and is a tribute to his originality. Studying these letters brings to light historical, material and esthetic questions that their authors bear witness to

Attirés par l'émulation artistique et par les possibilités qu'offrait le marché de l'art français, les artistes catalans de la fin du XIXe siècle et du début du XXe se rendirent en masse à Paris, dans un mouvement largement international. L'histoire que propose de traverser cette étude est celle des mobilités d'artistes, des transferts artistiques et culturels, des circulations, de la diffusion et de la réception d'œuvres. Quelle incidence eut l'origine de ces artistes dans leur parcours parisien? Quel fut leur degré d'acculturation? Quels réseaux parvinrent-ils à tisser? Quel fut l'accueil de leur œuvre : quelle lecture et quel usage? Comment construisirent-ils une identité à travers leur art? Ce travail entend combler une lacune de l'historiographie de l'art catalan contemporain et des rapports artistiques entre la Catalogne et la France, rejoignant les préoccupations actuelles sur les relations artistiques transnationales au travers de l'étude d'une communauté homogène d'artistes à une période déterminée. Accordant une place fondamentale à la réception, nous étudions la manière dont la capitale internationale de l'art - qu'était Paris - a réagi à l'intégration de ces étrangers et a accueilli leur œuvre<br>Attracted by the artistic emulation and the possibilities offered by the French art market, nearly all Catalan artists of the late nineteenth and early twentieth went to Paris, in a broadly international movement. This essay mainly focuses on the mobility of artists, on artistic and cultural transfers, and on the reception of artworks. How did these artists integrate into the Parisian artistic milieu at the turn of the century? How did living in Paris affect their artistic production? And, alternatively , how did their presence affect the Parisian artistic landscape? Thus, joining the current concerns about transnational artistic relations, this work aims to fill a gap in the historiography of contemporary Catalan art and of the artistic relations between Catalonia and France. By providing a fundamental role to the critical reception, this work throws light on how the international capital of art - that was Paris - reacted to the integration of these foreign artists and to their work

Au lendemain de la Seconde Guerre mondiale, dans les plus grands titres de la presse américaine, les nouveaux immeubles équipés de murs rideaux et de l’air climatisé sont présentés comme un « futur déjà arrivé dans le présent ». Le récit médiatique des projets de Mies Van der Rohe, S.O.M. ou Welton Becket est instrumentalisé à des fins de publicité et de divertissement, comme espace de projection dans le futur pour un public en mal d’horizons concrets. Cette thèse interroge la place de l’architecture dans une profonde reconfiguration du régime d’historicité, dans le sillage de l’imaginaire technoscientifique débridé qui caractérise la période – à l’instar de l’Atomic Age, du Space Age ou du Jet Age. Suivant une définition anthropologique de la culture comme production sociale de sens, la thèse met en évidence le rôle des professionnels de l’image (photographes et illustrateurs), de la communication et de l’édition dans le succès de l’architecture ultra-moderne comme proposition culturelle. Le principal cadre méthodologique du projet est la description du contexte de production et de réception du récit de l’architecture ultra-moderne dans la presse grand public. L’analyse conjugue une prise en compte des situations, des processus et des jeux d’acteurs propres au projet d’architecture et à sa médiatisation, avec un appareil interprétatif issu de l’histoire et de la théorie des arts et des images. A l’aune de son récit médiatique, l’architecture ultra-moderne apparaît comme un support de croyances et d’aspirations qui tenaient du mythe, autant que du projet technologique et rationnel revendiqué par les architectes. En tissant l’histoire de l’architecture, l’histoire du récit médiatique, et l’histoire du rapport au temps, cette thèse entend forger un cadre pour l’historiographie des mythes. La mise en œuvre des images d’architecture dans le récit du futur, qui s’appuie sur un imaginaire de la concrétisation, offre un prisme inédit pour revisiter la question de la performance des images, au cœur du champ des études visuelles<br>In the aftermath of the Second World War, in the headlines of the American press, new buildings equipped with curtain walls and air conditioning were presented as a "future already arrived in the present". The media account of the projects of Mies Van der Rohe, S.O.M. or Welton Becket was used for publicity purposes, as a space for future projections for an audience lacking concrete horizons. This thesis questions the place of architecture in a profound reconfiguration of the regime of historicity, in the wake of the unbridled technoscientific imagination that characterized the period – in the same way as the Atomic Age, the Space Age or the Jet Age. Following an anthropological definition of culture as a social production of meaning, the thesis highlights the role of photographers and illustrators, public relations and publishing profesionnals in the success of ultra-modern architecture as a cultural object. The main methodological framework of the project is the description of the context of production and reception of the narrative of ultra-modern architecture in the mainstream press. The analysis combines a consideration of the situations, processes and agents specific to the architectural project and its publicity, with an interpretative apparatus based on the history and theory of arts and images. In the light of its media narrative, ultra-modern architecture appears to be a support for beliefs and aspirations akin to a myth, as much as the technological and rational project claimed by the architects. By weaving together the history of architecture, the history of media narrative, and the history of the relationship to time, this thesis aims to forge a framework for a historiography of myths. The implementation of architectural images in the narrative of the future, which is based on an imaginary of concretization, offers a new prism to revisit the question of the performativity of images, at the heart of the field of visual studies

La compagnie des Ballets russes, fondée par Diaghilev en 1911, constitue un tournant dans l’histoire de la scène occidentale. Reprenant le principe de l’œuvre d’art totale, la troupe propose des spectacles composés par des peintres, des chorégraphes et des musiciens. Leur succès est fulgurant et leur influence décisive. Cette thèse se propose d’étudier la réception des Ballets russes en Espagne. Alors que l’Europe est en guerre, la Péninsule constitue une terre d’accueil propice aux échanges. Les intellectuels du pays s’interrogent sur les possibilités de rénover la scène théâtrale et sont attentifs aux expériences qui viennent de l’étranger. Les ballets que propose la compagnie entrent en résonnance avec leurs propres préoccupations. Ils posent à la fois la question de la tradition au sein de la modernité, du national et du cosmopolitisme et s’exportent à l’étranger. Ce travail s’attache à confronter les différentes réceptions qui sont simultanément menées dans les deux capitales culturelles de l’Espagne au moment où les régionalismes s’affirment toujours plus. La présentation de l’état des lieux de la scène espagnole constitue le premier moment de cette thèse. La deuxième partie est entièrement consacrée à la première saison (1916) que la compagnie donne en Espagne ainsi qu’aux débats auxquels elle donne lieu. Les troisième et quatrième parties mettent en miroir les lectures qui sont faites à Madrid puis à Barcelone et présentent les singularités de chacune des deux capitales culturelles du pays<br>The Ballets Russes company was founded by Diaghilev in 1911, and marked a turning point in the history of the Western European stage art. Taking up the Gesamtkunstwerk, the company offered shows composed by painters, choreographers and musicians. Their success was immediate and their influence was decisive. This work will examine how the Ballets Russes were received in Spain. The Spanish peninsula offered a fertile ground for exchange while Europe was at war, with the country's intellectuals wondering about how to renew the theatre scene and being receptive to foreign experiments on the matter. The ballets offered by the company reflected those concerns by addressing the question of the role of tradition within modernity as well as the concepts of nationalism and cosmopolitism while managing to find an audience abroad. This study aims at confronting the simultaneous reception of the Ballets Russes in the two cultural capitals of Spain at a time when regionalism was becoming increasingly strong. The first part will give a description of the Spanish theatre and arts scene. The second part will be entirely dedicated to the company’s first season in Spain (1916) and to the debates it raised. The third and fourth parts will deal with the way the ballets were received and understood in Madrid and Barcelona, through a presentation of the particularities of each of these two cultural capitals<br>La compañía de los Ballets russes, fundada por Diaghilev en 1911, constituye un momento relevante de la historia de la escena occidental. Inspirándose del principio del Gesamtkunstwerk wagneriano, la compañía presenta espectáculos compuestos por pintores, coreógrafos y compositores. Su éxito es enorme y su influencia decisiva. Esta tesis estudia la recepción de los Ballets russes en España. Durante la Primera Guerra Mundial, la Península aparece como una tierra de acogida propicia a los intercambios. Los intelectuales españoles se interrogan sobre las posibilidades de renovar la escena teatral y están atentos a las experiencias realizadas en el extranjero. Las obras estrenadas por la compañía llaman su atención. Compaginan la tradición y la modernidad, lo nacional y el cosmopolitismo y se exportan al extranjero. Este estudio presenta una comparación entre las diferentes recepciones llevadas a cabo en las dos capitales culturales españolas en un momento en que los regionalismos se afirman cada vez más. Una presentación general de la escena español de aquel entonces constituye el primer momento de esta tesis. La segunda etapa se centra en la primera temporada rusa que la compañía presenta en España (1916) así como en los debates que surgen entonces. Las etapas 3 y 4 estudian las recepciones que tienen lugar en Madrid y en Barcelona comparando las características de cada una de las capitales culturales del país

Cette étude a pour objectif de démontrer le changement paradigmatique qui s’est opéré dans l’approche du phénomène tragique et du genre de la tragédie à l’époque contemporaine. La tragédie, telle qu’elle est pratiquée par les Grecs durant le Ve siècle avant J.-C., se construit autour du concept de dikè, c’est-à-dire de justice. Toutefois, au XXe siècle, la pensée tragique se porte sur la question de la liberté humaine. Cette transformation quant à l’appréhension philosophique et dramatique du phéno-mène résulte des événements socio-politiques qui secouent le monde occidental, et plus particulière-ment européen, durant cette période. Notre étude repose ainsi sur la comparaison de plusieurs tragédie grecques — Les Perses, L’Orestie, et Prométhée enchaîné d’Eschyle ; Antigone et Philoctète de So-phocle ; Médée et Les Troyennes d’Euripide — avec des transpositions contemporaines, qui ont été créées en France et en Irlande en réponse à des événements socio-politiques menaçant la liberté des individus, ou du moins d’une partie d’entre eux. De ce fait, notre corpus se compose de trois pièces mises en scène durant ou après l’Occupation : Les Mouches de Sartre (1943), Antigone d’Anouilh (1944), et Caligula (1945) de Camus ; d’une pièce écrite lors de la période de la décolonisation dans les années 1960 : Les Troyennes de Sartre (1965) ; de trois pièces créées pendant la période des Troubles (1968-1998) : The Riot Act (1984) et Seize the Fire (1989) de Paulin, et The Cure at Troy de Heaney (1990) ; et de trois pièces composées durant le débat portant sur les droits des femmes dans les années 1980 en République d’Irlande : Antigone (1986), Medea (1989), et The Trojan Women (1993) de Kennelly<br>This research intends to underline the paradigmatic change that has occurred reguarding the approach to the tragic phenomenon and the genre of tragedy in the contemporary period. Tragedy, such as dramatized by the Greeks in the 5th century B.-C., was built on the concept of dikè, meaning justice. However, in the twentieth century, the idea of tragic is apprehended through the perspective of human freedom. This transformation of the philosophical and dramatic approaches to the tragic phenomemon arises from the social and political events occuring in the Western world, and more specifically in Eu-rope, during that period. Thus, our research relies on the comparison of several Greek tragedies — Aeschylus’s The Persians, The Oresteia, and Prometheus Bound; Sophocles’s Antigone and Philocte-tes; Euripides’s Medea and The Trojan Women — with some contemporary transpositions that have been produced in France and in Ireland to adress events threatening individual freedom of, at least, a part of the population living in France or in Ireland. Therefore, our research considers three plays creat-ed during or shortly after the Nazi Occupation of France: Sartre’s The Flies (1943), Anouilh’s Antigone (1944), Camus’s Caligula (1945); one play performed during the decolonial period of 1960: Sartre’s The Trojan Women (1965); three plays produced during the period of the Troubles (1968-1998): Paulin’s The Riot Act (1984) and Seize the Fire (1989), and Heaney’s The Cure at Troy (1990) ; and three plays performed to deal with the issue of women’s rights in the Republic of Ireland: Kennelly’s Antigone (1986), Medea (1989), and The Trojan Women (1993)

by Linda Pui-ling Wong.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 1995.<br>Includes bibliographical references (leaves 277-299).<br>Acknowledgements --- p.i<br>Abstract --- p.iii<br>Abbreviations --- p.v<br>Chapter Chapter One --- Chinese Modernity Reconsidered --- p.1<br>Chapter Chapter Two --- The Presence of the Pre-Raphaelites in China --- p.21<br>Chapter Chapter Three --- The Cross-cultural Counterparts: The Pre-Raphaelite Brotherhood and the Crescent Moon Society in China --- p.44<br>Chapter Chapter Four --- "New Images of Lovers: Chinese Adaptations of Dante Rossetti's ""The Blessed Damozel""" --- p.66<br>Chapter Chapter Five --- The Lyrical and Melancholic Women: The Reconstruction of Christina Rossetti --- p.132<br>Chapter Chapter Six --- Utopian Thinking in May Fourth China: The Rise of William Morris --- p.152<br>Chapter Chapter Seven --- A Patriotic Model for Modern China: The Early W.B. Yeats as a New Romantic --- p.172<br>Chapter Chapter Eight --- "The Chinese ""Decadents"": Indebtedness to Algernon Swinburne, Aubrey Beardsley and Oscar Wilde" --- p.193<br>Chapter Chapter Nine --- "The ""Fleshly School of Poetry""in China?" --- p.244<br>rllustrations --- p.272<br>Glossary --- p.274<br>Bibliography --- p.277

African encounter with the Bible is different from their encounter with Christianity. This thesis looks at different stages of African reception and appropriation of the Bible in African prophecy. The appropriation of the Bible by Africans is important to look at because it allows them to use their own thought pattern in order to understand the Word of God. Isaiah Shembe (1870-1935) is one of the AlC's prophets who sought to revitalize his Zulu community after the dispossession of their cultural identity in the name of Christianity. He did .. this through his different hermeneutical interpretation of imibhalo eNgcwele (Holy Scriptures) and through his maintenance and revival of social customs. When missionaries came with the Bible in Africa there also came with them colonialists and it is evident that the two went together. Africans did not only see the Bible as a tool for western colonialism but also as a book of numinous powers. However, it was not long before Africans realized that there was nothing wrong about the "Book" because when they could read it for themselves they realized that the Book portrays a life that is similar to theirs. The researcher sought to separate the Bible from Christianity in order to understand different stages of the reception of the Bible in Africa. This thesis, then looks at the appropriation of the Bible in African prophecy. It argues that in African prophecy the Bible is used to renew African society. This is done by examining and contrasting the material of two Zulu prophets Isaiah Shembe and George Khambule. These two prophets who emerge in the time of the destruction of the Zulu society have a religious experience that sought to restore and renew Zulu community. This is seen in the way they interpreted and enacted the promise of the New Jerusalem in the Book of Revelation among their communities.<br>Thesis (M.Th.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.<br>Draper, Jonathan A.

This dissertation seeks to abolish the inherited cliché that the Modernist writers and artists rejected earlier art and literature, particularly that of the classical tradition. In fact, both literature and art of the early 20th century made widespread use of the inherited Greco-Roman tradition in a myriad of ways. Moreover, beginning after the First World War and maturing in the 1920s, a demonstrative Neoclassical “movement” appeared across different types of art and different nations. A neoclassical or classicizing style or form is inherently malleable, an empty signifier that can, through an artist or writer’s emphasis, point towards any number of meanings. This allowed a classical style to become widespread along with its seeming resiliency as the ordered, traditional bedrock of the West. In the 1930s, however, the fascist parties of Germany, France, and Italy began to appropriate the neoclassical as a state- or party-style because of the ease with which politics could be incorporated into a relatively vacant form. Their systematic use of the classical tradition in large part “tainted” classical subjects and styles, which allowed for the post-World War II institutionalization of the avant garde. I argue that texts which used the classical tradition could do so in four distinct manners—four types of classicism. Symbolic Classicism controls its classical material by using it only at the level of hollow icon which pregnantly gestures towards antiquity. Traditional Classicism, like an adaptation of a classical narrative particularly in drama, becomes completely dependent on its borrowings. Formal Classicism borrows an inherited, vacant form which can then be injected with Modernity. Finally, Synthetic Classicism necessitates a careful balancing of the classical material, not reducing it to symbolic meaning, but producing a novel narrative or mirroring-effect, that controls its various elements designed into a modern theme or objective.<br>text

This thesis provides an overview of Czech translations of Nigerian literature written in English and their reception since 1960s. Its main focus are novels and other prose fiction, first in the context of Nigerian history, culture and postcolonial experience, factors that influence an author's creative choices, such as the choice of themes and appropriation strategies aimed at transforming English for specifically African purposes. The thesis then moves to the issue of Czech translations of Nigerian works; it considers the nature and changes in publishing policies before and after 1989 and the effect of official state ideology, censorship and market on the choice of literary texts and composition of peritexts. The thesis contains short analyses of translation strategies regarding the exotic elements in researched texts and related appropriation strategies employed by authors. The reception research is based on studying mainly literary magazines and aims to create a diachronic map of reception events consisting of periods of heightened readership interest.

Diploma thesis Translation's of Edgar Allan Poe's Poems in the Context of the Czech Literature maps Edgar Allan Poe's influence on Czech culture in the context of Czech literary science. It analyzes chosen theoretical essays and on their basis constructs a continuous picture of understanding of Poe's texts and his personality in specified period of time since year 1945 until today. The thesis' goal is to depict the relationship between Edgar Allan Poe and Czech culture, to state the changes in understanding throughout the different time periods and to reflect on its importance. The whole work is divided into two parts, the first one reminds results of preceding research, whereas the second one expands on them. Bibliography on Poe's work and personality and the list of all Poe's works published in Czech language represent also important parts of the work.

The Kairos Document ('KD' or 'Document') burst onto the socio-political and ecclesiastical scene in South Africa in 1985, presenting to churches, communities-of-faith and individuals the challenge of a decisive moment in the history of Christian opposition to Apartheid. The nature and extent of reactions and responses to the document exceeded the authors wildest dreams and most optimistic of expectations. This study traces the contours and discerns the patterns of reactions against and resonances with the Document in South Africa and within the international ecumenical community. The main focus of this research, however, is on the propensity and capacity of the institutionalised churches - and in particular the English-speaking churches in South Africa - to respond positively and constructively to a prophetic challenge, such that which emanated from the KD and the subsequent Kairos movement. One of the English-speaking churches, the United Congregational Church of Southern Africa (UCCSA), is singled out in this thesis and subjected to an extended examination and analysis, relative to its response to the challenge of the Document. The main reason for this special reference to the UCCSA is that this church denomination had embarked on a major process of ecclesiastical and denominational transformation in its response to the challenge of Kairos. It is 'upon this process of transformation within the UCCSA that I seek to critically reflect and to draw some learnings from the prophetic legacy of the Document. The UCCSA also happens to be the church denomination in which I have been nurtured in Christian faith, practice and ministry. The work, worship and witness of this church is therefore the primary frame of reference and ecclesiastical context in which my own prophetic consciousness has been awakened and shaped. I am, as such, acutely aware that my research on the responses to the KD by the UCCSA is being undertaken from the perspectives of an insider and that my passion for and commitment to the prophetic role of the Church makes me no neutral observer. It is my contention, however, that the above factors neither compromise nor diminish the academic credibility and ecumenical significance of this study. On the contrary, my strategic positioning within the UCCSA enables me to undertake such research from a privileged vantage point of first-hand experience, readily accessible data and greater understanding which derives from such close proximity. Needless to say, I shall endeavour to be as rigorous and critical as possible in my appraisal of the UCCSA's response which, in the final analysis, is an integral part of my overall critique of the nature of the churches' responses to the prophetic challenge of the KD.<br>Thesis (Ph.D.) - University of Natal, Pietermaritzburg, 1998.

1 Mgr. Alena Fry Dissertation Abstract Edgar Allan Poe in Czech Reception: Translation and Interpretation History The doctoral thesis investigates the history of Edgar Allan Poe's reception in Czech culture from the 1850s to the present. Its aim is to scrutinize how the author's image has been shaped and reshaped over the course of time by various book editions, interpretive approaches and key translations, and what socio-cultural, literary or individual factors contributed to these transformations. The thesis is intended to contribute to the understanding of the history of Czech literary translation and of Czech literature's intercultural affinities. Chapter 1 defines the research goal, presents the theoretical background and outlines the structure of the thesis. It reveals the inseparableness of Poe's image as the author and the man, i.e. the Poe "myth" that started developing during Poe's lifetime, and the necessity to also account for it when studying his Czech reception. Chapter 2 focuses on the period up to the early 1890s and examines the earliest interpretations. These were strongly influenced by R. W. Griswold's infamous "Memoir" and dwelt mainly on the circumstances of Poe's life. Furthermore, the chapter provides an overview of the first prose and poetry translations which were occasionally...

Classical mythology has been one of the main sources of inspiration for European artists for centuries. It also remained current during the 20th century. From the 1920s, one can see increasing interest in classical myths; it becomes a source of inspiration even for artists of avant-garde art movements. The 20th century artist approach themes from classical mythology from a position of newly acquired artistic freedom. Release of iconographic conventions and academic rules, emphasis on psychology and individuality of a modern man brings specific forms of reception and reinterpretation of classical myths. In many cases, classical mythology carries allegorical meanings in a relation to contemporary political and social events, often in a very critical tone. But it also represents a tool for one's personal coping with reality. The thirties and early forties of the 20th century with dark atmosphere affected by war conflicts represent the culmination period of classical myths in visual arts. The tendency can be observed both in the art of European and Czech origin. Antiquity and classical mythology become the symbols of a return to the roots of European culture and civilization, symbols of the common European humanistic heritage. The collection of nearly 180 works of modern Czech art inspired by classical...

Text in Afrikaans<br>Hierdie studie is 'n herskepping van die wereld van die Afrikaanse roman van 1934-1939. Al die romans is bekom en gelees. Die beskikbaarheid van hierdie romans word aangedui. 'n Sketsmatige beeld van elke roman word gegee, waarin die aard daarvan aangetoon word ten opsigte van die volgende aspekte: milieu, tema en konflik (moreel, religieus, maatskaplik, polities). Die lotgevalle van hierdie romans is nagegaan aan die hand van tydgenootlike resepsiegeskiedenis, sowel as die van die literatuurgeskiedskrywing tot op hede. Hieruit het dit geblyk dat sekere romans aanvanklik hoog aangeslaan is, maar nie in die kanon opgeneem is nie. Moontlike redes hiervoor word ondersoek. Na my oordeel verdien Die loutering van Petrus deur Ella Fischer en Die jare daarna deur Aletta Steyn 'n herbesoek. Albei romans is boeiend en interessant, die karakters "lewe" en dit wat hul beleef en ervaar, spreek steeds tot die leser van die negentigerjare<br>This study is a recreation of the world of the Afrikaans novel of 1934-1939. All the novels were obtained and read. The availability of these novels is indicated. A schematic account of each novel is given, in which the nature of each is explicated in respect of the following aspects: milieu, theme and conflict (moral, religious, social and political). The fate of these novels was researched in the context of their contemporary reception history and that of literary historiography to date. From the study it appears that certain novels were initially highly acclaimed, but were not included in the canon. Possible reasons for this are investigated. It is my opinion that Die loutering van Petrus by Ella Fischer and Die }are daarna by Aletta Steyn need to be re-evaluated. Both novels are absorbing and interesting, the characters are lifelike and their life experiences are still relevant to the reader of the nineties<br>Afrikaans & Theory of Literature<br>M.A. (Afrikaans)

Text in Afrikaans<br>In hierdie studie word 'n bydrae tot die beskrywing van 'n resente periode in die Afrikaanse prosageskiedenis, naamlik die dekade 1980-1989, aangepak. Die terme ''Tagtiger" en "tagtigerskrywer" word bespreek en gedefinieer. Negentien skrywers word aan die hand van vyf kanoniseringsmeganismes as belangrike Afrikaanse tagtigerprosaskrywers geidentifiseer. Hierdie skrywers en hulle 51 prosatekste wat tussen 1980-1989 gepubliseer is, word dan deur Vanheste (1981) se vier gei"dentifiseerde literatuursosiologiese aandagsvelde naamlik die outeur, die literere werk, die literere kanaal en die leser ondersoek ten einde die posisie van die gekose skrywers m.b.t. maatskappy en skrywerskap, enkele samebindende aspekte in die proefgroep se tagtigerprosatekste, die funksionering van die literere kanaal t.o.v. hierdie tekste en die resepsie daarvan te bepaal. Met behulp van vraelyste aan die proefgroep is hul houdings t.o.v. 'n aantal aktuele aangeleenthede ondersoek. Ses onderskeidende kategoriee in die proefgroep se tekste, naamlik politiek en betrokkenheid; realisme; grens- en geweldliteratuur; postmodernisme; homoerotiek en goeie gewilde prosa word aangedui. Die posisie van verskillende "hekwagters" in die literere kanaal, saam met die invloed van sensuur op die proefgroep, die rol van die Afrikaanse Skrywersgilde en die "little magazines" wat publikasiegeleenthede vir die jong skrywers gebied het, ontvang aandag. J.C.Kannemeyer as geskiedskrywer en 'n verskeidenheid resensente se waarde-oordele word nagegaan. Aan die hand van Vanheste se literatuursosiologiese kommunikasiemodel, gekombineer met sy (aangepaste) analisemodel, word etlike sosiale werklikhede in Alexander Strachan se 'n Wereld sander grense dan onder die loep geneem. Die ondersoekterrein van die literatuursosiologie dek s6 'n wye veld dat heelwat interessante aspekte noodwendig agterwee moes bly. Resepsiestudies van lesers gedurende die tagtigerdekade was nie moontlik nie en 'n resepsiestudie kon ongelukkig eers vyf jaar na die tagtigerdekade uitgevoer word. Die gevolgtrekking waartoe in hierdie studie gekom word, is dat, hoewel waarskynlik nie op dieselfde betekenisvlak as die term "Sestigers" nie, daar wel van ooreenkomste in die werk van Afrikaanse tagtigerskrywers gepraat kan word. Samehang word ook aangedui tussen die sosiale omwereld en die tagtigertekste wat daarbinne tot stand gekom het, veral met betrekking tot tematiese en stilistiese keuses. Terselfdertyd het die literere werke van hierdie dekade 'n invloed uitgeoefen op die omwereld waarbinne dit verskyn het<br>This study attempts to make a contribution to the description of a recent period in Afrikaans Prose History, namely the decade 1980-1989. The term writer of the Eighties is defined and discussed. Nineteen writers have been identified as important Afrikaans Eighties writers with the aid of five canonization mechanisms. These writers and their 51 prosa texts published between 1980-1989 are then investigated by means of Vanheste's four identified attention areas in the sociology of literature, namely the author, the literary work, the literary channel as well as the reader. Questionnairs have been used to investigate the attitude of the trial group with regards to a number of current affairs. Six distinguishing categories have been identified in the texts of the trial group namely politics, realism, border and violence literature, postmodernism, homo-erotics and popular prose. The position of different gate-keepers in the literary channel, together with the influence of censorship on the trial group, the role of the "Afrikaanse Skrywersgilde" and the "little magazines", together with publication opportunities offered to these young writers, have enjoyed attention. J.C.Kannemeyer as historian, together with the critics as readers of the trial group's texts are investigated. The manipulation of a few social realities in Alexander Strachan's 'n Wereld sander grense is investigated in terms of Vanheste's communication model of literary sociology, combined with his (adapted) analysis model. The field of investigation of the sociology of literary covers such a wide field that numerous interesting aspects had to be omitted. Reception studies during the decade of the eighties were not possible and could, unfortunately, only be done five years after the decade of the eighties. The conclusion of this study is that, although not at quite the same level of significance as the term "Sixties", one could still find similarities in the works of Afrikaans writers from the Eighties decade. Cohesion between the social world and the texts of the Vll eighties have evolved from it, especially with regards to thematic and stilistic choices. At the same time, the literary works of this decade have contributed to the social world in which they were published<br>Afrikaans & Theory of Literature<br>D. Litt. et Phil. (Afrikaans)

This is a monograph on the South African artist Diek Grobler. The aim is to contextualise the artist‟s oeuvre up to 2009 and to explore the visual metaphors in his art. Grobler has a fascination for stories. He blends tales of traditional Western mythology, African mythology, Christian religion, folklore and magical realism into narrative artworks. Through visual metaphors the artist comments on the everyday human dramas that surround him – be they political, social, psychological or cultural. Furthermore, he adds an element of surprise to his sketches of human drama, by infusing them with irony and humour. My research reflects the diverse nature of Grobler‟s oeuvre as it investigates works from various artistic genres such as painting, sculpture, illustration, performance art, avant-garde theatre and animation. It also examines a blend of different artistic media such as ceramics, oil paint, gouache, pastels, scraperboard, earthenware, 2D computer animation, puppetry, and stop-motion animation.<br>Art History, Visual Arts & Musicology<br>M.A. (Art History)