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Douwes, Henricus Antonius Maria Gerardus Ruusbroec Jan van. "De ornatu spiritualis desponsacionis kritische uitgave met commentaar /". Proefschrift, [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2000. http://dare.uva.nl/document/81425.
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Gruppelaar, Jacob. "Een wereld van eigen makelij : een filosofisch commentaar /". [S.l.] : Boom, 1995. http://catalogue.bnf.fr/ark:/12148/cb40125619b.
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Campen, Ferdinandus Honoreus Maria van. "M. Annaei Lucani de Bello civili Liber II : een commentaar /". Amsterdam : J. C. Gieben, 1991. http://catalogue.bnf.fr/ark:/12148/cb35695840m.
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Hoogewerf, Cornelis Laurentius. "Het Haarlemse stadsrecht (1245) inleidende beschouwingen, tekst, vertaling en artikelsgewijs commentaar /". Proefschrift, Amsterdam : Amsterdam : Cabeljauwpers ; Universiteit van Amsterdam [Host], 2001. http://dare.uva.nl/document/59646.
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Stolk, Fabian Richard Winfried. "Een kwestie van belichting : genetisch-interpretatief commentaar bij Gerrit Achterbergs "Spel van de wilde jacht /". Utrecht : [s.n.], 1999. http://catalogue.bnf.fr/ark:/12148/cb399261338.
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Proefschrift--Utrecht--Universiteit, 1999.Mention parallèle de titre ou de responsabilité : A @matter of lightning : genetic-interpretative commentary on Gerrit Achterbergs "Spel van de wilde jacht" (Game of the wild hunt). Bibliogr. p. 377-382. Index. Résumé en anglais.
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Sieswerda, Douwe Tjalling Anastasius. "Pseudo-Anastasius en Anastasius Sinaita een vergelijking : de pseudo-anastasiaanse Quaestiones et responsiones in de Sōtērios : prolegomena, tekst en commentaar /". [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2004. http://dare.uva.nl/document/75686.
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Mampuys, Alfred Frans Maria. "De Ik-splijting van de man Mozes en de inscheuring in zijn Ik een commentaar bij Freuds Mozeswerk, zijn Ik-splijtingstekst en de Wolfmancasus /". [S.l. : [Groningen] : s.n.] ; [University Library Groningen] [Host], 1997. http://irs.ub.rug.nl/ppn/158884930.
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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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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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Nisters, David. "‘Annexed merely to make clear the argument'?: some thoughts on the functions of commentary". Universität Leipzig, 2019. https://ul.qucosa.de/id/qucosa%3A34896.
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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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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, i Jürgen Essletzbichler. "Commentary: Contesting inequality". SAGE Publications, 2013. http://dx.doi.org/10.1068/a46244.
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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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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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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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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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Cutler, Joe. "Commentary to compositional portfolio". Thesis, Durham University, 2003. http://etheses.dur.ac.uk/10285/.
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The contents of the following portfolio represent the main core of my compositional work during the period of 1992-1998. The presented material can be divided into two halves: Pieces 1-5 were composed whilst I was a part-time student based in Durham (1992-93) and pieces 6-13 have been composed since moving to Poland (October 1993) where I spent three years studying as a post-graduate at the Chopin Academy of Music in Warsaw (1993-96). The early pieces (such as Blow-Out, Gaia and Blast!) seek to explore a high degree of musical abrasiveness and attempt to use sound in a raw and sometimes shocking way. They are highly influenced by a very direct approach to the canvas taken by the Abstract Expressionists of visual art, and in particular the work of Willem de Kooning. Blocks of highly contrasting sound materials are juxtaposed in order to intensify the sense of extremity, whilst musical gestures are often jagged, violent and angular.
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Dunsch, Boris. "Plautus' 'Mercator' : a commentary". Thesis, University of St Andrews, 2001. http://hdl.handle.net/10023/7089.
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This thesis comprises an introduction, a lemmatic commentary, and indices. The introductory chapter, apart from a brief discussion of a more general nature, investigates the play and the relation it bears to Philemon's Emporos, its lost Greek model, especially with regard to the actdivisions of the Greek play and the pacing of the action in Plautus' adaptation. The commentary is provided to address problems posed by the Latin text, notably those of exegesis, textual criticism, metre, grammar, humour, imagery, staging, and the relationship to the Graeco-Roman comic tradition. An attempt is also made to distinguish between elements which may reflect the Greek comic tradition and those which suggest Plautine origin. In recent work about Plautus and Philemon it has been argued that the plot of the Emporos underwent far-reaching changes at the hands of Plautus, but the author of this thesis argues for the essential unity of the Mercator and for Plautus' conservative treatment of the plot of the Greek original, at the same time allowing for the fact that Plautus may have Romanised, exaggerated, and extended Philemon's play at certain points. By its structure, metrical arrangement, pacing, juxtaposition of contrasting types, parallel arrangement of core scenes, and the recurrence of key imagery, themes and motifs, the Mercator proves to be a carefully conceived, effectively balanced, and well-composed play.
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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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Yau, May Kay. "Seeking a voice : 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.629120.
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The thesis, Seeking a Voice, comprising a portfolio of original musical compositions and a written commentary, is submitted to the University of Bristol for the degree of Doctor of Philosophy in Music. The seven pieces in the portfolio of compositions portray my journey of looking for a personal musical voice during my research years at Bristol. They are for a range of instrumental and vocal forces, and are of various musical genres. The written commentary is divided into four chapters. The introduction is a reflection on my position of being a Hong Kong Chinese composer with a background consisting of eastern and western influences that determine my approach to musical composition. The first chapter is a self-evaluation of my research and compositions written during the past four years. The second chapter provides a discussion of the potential in applying certain elements of the folk songs, traditional music and instrumental techniques of China to pieces composed for western musical ensembles. The third chapter is a series of commentaries on individual pieces in the portfolio: Five Haikus for soprano, clarinet and percussion, Alive for orchestra, Confrontation for string quartet, Death and Tenderness for eleven players, Demise of the Cherry Blossoms for orchestra, Winter Poetry for woodwind quintet and Diary of a Jasmine Flower for solo piano. They present the inspiration and personal thoughts behind the compositions, analyses of how they are constructed, and also how they were influenced by my cultural background. The fourth chapter presents a glimpse of the direction of future compositions.
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Wakefield, Simon John. "An edition and commentary on Clement of Lanthony's Commentary on the Catholic Epistles". Thesis, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298430.
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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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Claude, Marie-Sylvie. "Commenter la peinture, commenter la littérature : Présupposés, limites et perspectives d'un détour". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080021/document.
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Les programmes de français du secondaire, qui invitent à pratiquer la lecture de l’image en lien avec la lecture analytique du texte littéraire, nous semblent reposer sur le double présupposé, que nous interrogeons, de l’identité des deux exercices et de l’immédiateté d’une pédagogie de détour. Nous empruntons à la sociologie de l’éducation (registres de l’apprentissage, malentendus sociocognitifs), à la didactique (articulation compréhension/interprétation, sujet-lecteur, conscience disciplinaire), et à l’histoire de l’art (sémiologie, iconographie). Nous nous appuyons sur une enquête réalisée auprès d’une centaine d’enseignants, sur un corpus de 350 commentaires rédigés par des élèves de troisième et de seconde, et sur des entretiens post-passation.Les enseignants attendent des élèves qu’ils conçoivent une interprétation polysémique, appuyée sur une analyse fine de l’œuvre, notamment formelle, et sur des savoirs culturels diversifiés ; ils constatent une facilitation par la peinture, que notre analyse des productions des élèves confirme : si les exigences culturelles posent davantage de difficultés, les opérations cognitives y sont mieux réussies, l’engagement subjectif et la conception de l’objet plus compatibles avec les normes lettrées. Cet écart en faveur de la peinture se creuse dans les collèges défavorisés. Nous expliquons ces différences par les spécificités sémiologiques des deux arts mais aussi par des malentendus sociocognitifs, plus profonds sur la littérature. De sorte que la possibilité d’un retour, au profit de la littérature, des apprentissages réalisés lors du détour par la peinture, est selon nous conditionnée à un cadrage spécifiqueFrench secondary school curricula, which encourage linking “image reading” with analytical reading of literary texts, seem to be based on two main presuppositions. This paper questions the identity of the two exercises and the relevance of a pedagogical detour teaching strategy. The thesis borrows concepts from the sociology of education (learning registers and socio-cognitive misunderstandings), didactics (links between understanding and interpretation, subject-reader and subject perception) as well as the history of art (semiotics and iconography). This paper is based on a corpus of 350 comments written by pupils aged 14 to 16 and retrospective interviews gathered from a study of 100 teachers,.Teachers expected pupils to create a polysemic interpretation based on diverse cultural knowledge and a close, formal analysis of the work in question. Teachers noted that the use of paintings helped this process, something which was also confirmed by our analysis of the work of pupils. This suggests that, whilst the cultural requirements of painting analysis are more complex, the cognitive processes and subjective engagement of students were better when using this technique and their understanding was more appropriate according to literary norms. This preference for paintings over text was accentuated in disadvantaged schools. This paper explains these differences through the semiological specificities of the two art forms but also through socio-cognitive misunderstandings, more present in literature analysis. This paper concludes that the study of literature in conjunction with the study of painting is part of a specific, pedagogical detour framework
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Esterson, Zachary. "A translation of, and select commentary on, Victorinus of Pettau's commentary on the Apocalypse". Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/97767/.
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Bakhouche, Béatrice. "Calcidius, "Commentaire au "Timée" de Platon", chapitres 1 à 118 traduction et commentaire, annexes". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37595683f.
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Sobopha, Mgcineni. "Skins, scars, blankets and blood : a pictorial response to the tensions and conflicts that arise from the representation and the practice of Ulwaluko in contemporary South Africa". Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/25960.
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Ulwaluko (the subject of this study) is a Xhosa male initiation or rite of passage normally marked by elaborate ritual ceremonies and authenticated by circumcision. Human longing for ritual is deep, and in our contemporary culture is often frustrated. As an artist working in such an environment, my close association with these 'visible experiences' or contradictions in life has been the source and stimulus of my creative impulse. Ulwaluko is very close to me and an intensely personal aspect of my history and experience. It forms part of my identity and I ascertain very little distance between it and myself, if there can be any. It should be understood that this study is not an anthropological analysis of the Xhosa society and their cultural practices. Rather, it is a combination of autobiography and social commentary in which emphasis on first-hand experience is of primary importance for better understanding of the subject studied. This subjective experience also provides the basis, both conceptual and emotional, of the theoretical and creative process of this body of work. This project premises itself on the contentious issues around ulwaluko as practised by the Xhosa society, with particular reference to communities in Engcobo and Cape Town, and the tension in the creative work is rooted in the conflict and debate around this subject. An attempt is made to examine the impact of colonialism in the displacing and disrupting of this traditional Xhosa cultural practice. Basically, this study is a visual response to and an exploration of the tensions and conflicts that arise from the practice of ulwaluko and its representation in contemporary South Africa. And more important, it is a reflection of the struggle and the affirmation of the self in relation to my work as an artist. However, due to the complexity and sensitivity of this subject, I cannot generalise my understanding and experience of ulwaluko to be that of every Xhosa. The Xhosa people are not a homogeneous group as has been often perceived and discussed in various European discourses that are now under severe criticism by contemporary theorists such as Edward Said. It is a fact that people are different individuals, with dissimilar life experiences. Explaining other people's beliefs and feelings in an objective manner can seem to ignore or does not necessarily take into account, the personal value of emotions, of the joys and sorrows, and even of the transformation of the participants in the practice analysed. In recent years the practice and the visual representation of ulwaluko in South African society, by both 'insiders' and 'outsiders, has stirred concerns and provoked heated moral debates.
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McCabe, Stephen Robert. "Portfolio of Compositions with Commentary". Thesis, University of Sheffield, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489860.
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The following paper is a review of compositions written during the period 2000 to 2007. In presenting the work, I have looked at the way that my music is influenced by outside material, some of the significant features of each piece as well as some technical details I consider relevant. To begin with, it might be useful to mention some ofthe composers that attracted 'me to contemporary music. I am particularly drawn to the compositions of BirtwistIe, Carter, Zappa, Boulez and Nunes as well as Stravinsky, Varese, Webern and Barraque. All of these composers demonstrated or demonstrate a powerful and highly evolved personal musical aesthetic. I believe they arrived at their objective aesthetic only after a long period of intense refinement and subjectivity. It strikes me that for a composer to keep writing music they must feel that they can still develop their technique or techniques. I want to continue to evolve as a composer; however, the scores do suggest a late 20th century modernist style with sonorities and structural procedures reminiscent ofBoulez and Birtwistle. 2. SONG SETTINGS Throughout this period, I used text as something to begin a compositional process. It therefore seems appropriate to discuss the way text influences my aesthetic and provides a starting point for composition. Much of the music I have composed has poetry at its heart or it takes as its starting point a literary source. It seems to me, when setting words to music one must consider whether the musical context is an aid to understanding. Does it serve the text or lie in opposition, or does it lie along side it, as a commentary? It would seem integral that the music serves the text by displaying it at its best advantage. However, the text normally stands alone and does not actually require a musical setting at all. The poet's job is finished. In my view, poetry is essentially artificial, both in structure and in terms of the imagery used, and of cour~e when it comes to the composer's part the poet (unless living) is not usually consulted. I feel it is appropriate to treat the text in whatever way suits the composer's aspirations and do not necessarily feel that the music should 'serve' the words or that the context should necessarily use the structural elements of the text. Therefore, the music can be any of the above. Nevertheless, poems have form, it therefore seems reasonable to consider if or how much of that form is represented in the context. I have taken several approaches to this. For example, the 5-7-5-syllable form ofa haiku informs some ofthe parameters of the settings. However, in the Pessoa piece, the poems are fragmented to reflect the nature of their author, in effect the piece is more about the poet than the poems. In the Rilke, 1 decided that the music would provide scaffolding on which to hang the
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Lee, Stephen Michael. "A commentary on Suetonius’ Galba". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25455.
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It is difficult to ascertain the reason why the Lives of Suetonius have been so neglected by English-speaking scholars. In the historical significance
of the period they cover, in the light they throw upon Roman life and manners and as a rich mine of anecdotes concerning Roman emperors, they have always been regarded as a most important source of information. There have been, however, few commentaries devoted to the Lives. The Galba has been particularly disregarded. Not since Mooney's edition of 1930 has there been any complete English commentary on the Life. However, other factors than the lack of a recent edition contributed to the choice of the Galba as the subject of this thesis. The Life deals with one of the most remarkable
periods of Roman history, with the decline of the Julio-Claudian line and the subsequent political upheaval. It is also typical of Suetonius' style of biography in its impartiality, the structure and organization of its narrative, and its linguistic style. Finally, in the parallel accounts of Galba's life by Tacitus, Dio and Plutarch there exist constant points of reference that are vital for reasons of characterisation and historical value. It has been my aim in this thesis to produce a critical commentary on the Galba that both demonstrates the peculiar characteristics of the work and evaluates the contributions of modern scholarship.
The thesis falls into three parts. The first chapter deals with the life of Suetonius and includes a discussion of the problems caused by the discovery of the Hippo Inscription. Subsequent sections are devoted to the date of composition of the Lives, the contentious question of Suetonius' sources and, finally, the manuscript tradition. Chapter two consists of a text of the Galba based on that of Ihm ( 1958). Some variations have been made and defended in the Commentary.
Chapter three, the Commentary, constitutes the bulk of the thesis and is a section-by-section discussion of historical, textual and linguistic points arising from the text. The method of citation, through out, is by name of author and year of publication only. Full details can be found in the bibliography at the end of the thesis.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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El-Rayes, Waseem Mustafa. "A commentary on Plato's Lysis". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ46972.pdf.
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45
Greckol, Allison. "A commentary on Plato's Menexenus". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ46977.pdf.
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46
Jones, Carolyn 1949. "Pindar's Nemean 6 : a commentary". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56900.
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This commentary to Pindar's Nemean 6 was inspired as much by the absence of recent modern criticism as by the presence of those venerable works on the Nemean odes by Fennell, Bury and Farnell. I determined to examine these commentaries in particular since they are basic to any critical approach. I next determined to include more contemporary criticism which was either directed to the Nemean 6 in particular, or was generally applicable. I was guided in my selection of points of interest as much by personal curiosity as by a sense of their poetic, thematic, structural, syntactical, or textual importance. In the interest of private safety as well as sanity, I have avoided any analysis of metre, except where it has been utterly unavoidable.
47
Reinhardt, Tobias. "A commentary on Cicero's 'Topica'". Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342970.
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48
Bowie, Michael. "Martial Book XII : a commentary". Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305239.
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49
Goula-Sarda, Roger. "Portfolio of compositions with commentary". Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494689.
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This thesis consists of a portfolio of original compositions and a commentary. The portfolio is divided into two major groups: concert music and collaborative music. There are six concert pieces including two solo works, one for guitar and one percussion, one string quartet with electronics, an oboe and percussion piece with real-time electronics, one septet and one orchestral work. Collaborative pieces are represented by the score for a contemporary dance choreography and the music for a theatre play. Other collaborative works not included in the portfolio will be briefly commented upon. The commentary will mainly concentrate on the aesthetics behind my praxis as a composer through the analysis of the works presented on the portfolio. I will also present a philosophical discussion of what musical composition represents nowadays to me in relation to Postmodernism.
50
Gordon, Michael Zev. "Composition portfolio, commentary and recordings". Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395115.
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