Cette étude porte sur l’exploration du processus et du phénomène par lesquels l’identité nationale et culturelle des Caraïbes a été construite. Dans la poursuite de cet objectif, deux poèmes majeurs et une pièce de théâtre dramatique de Derek Walcott seront examinés. La première s’agit de son poème épique créole, Omeros, qui se concentre sur les enjeux de l’identité créole et le concept de l’héros national.Étant donnée que la poésie de Walcott est fortement influencée par sa vie personnelle et en conséquence,par la vie dans son pays natal, l'île de Sainte-Lucie, il paraît indispensable à examiner son poème autobiographique, Another Life, qui est un compte rétrospectif de Walcott et son parcours artistiquejusqu’à l’âge de 33 ans. En outre, puisque Omeros met en parallèle la poésie homérique, cette étude bénéficie également d’une exploration de son autre réécriture de la poésie homérique, The Odyssey : aPlay. Cette étude tente à monter que ces deux réécritures se sont complémentaires : le poème épique antillais est la quête d’identité du point de vue du sujet colonial, tandis que la pièce de théâtre dramatique antillaise est la quête d’identité de la perspective du colonisateur. L’étude de la poésie et des pièces de théâtre dramatiques de Walcott nous aident à percevoir les façons dont le poète antillais tente à déconstruire l’importance de la tradition littéraire occidentale à travers la réécriture de la poésie homérique. Cette tradition perpétue l’opposition binaire de supériorité/infériorité qui joue un rôle déterminant dans la construction de l’identité d’un individu. En déplaçant les personnages et la littérature de Saint Lucie de leur emplacement dans les marges vers le centre, Walcott décentre la poésie homérique, et la littérature occidentale. Créolisation, Colonialisme, Postcolonialisme,Déconstruction, Poésie homérique, Histoire, Mémoire, Réécriture / This thesis seeks to explore the process and phenomenon through which Caribbean national and cultural identity has been constructed. In order to achieve this goal, two of Derek Walcott’s major poems and one of his dramas have been chosen. The first is his Creole epic poem, Omeros, which concentrates on the issues of Creole identity and the concept of national hero. Since Walcott’s poetry is highly influenced by his personal life and consequently life in his homeland, the island of Saint Lucia, it seems indispensable to study his autobiographical poem, Another Life, which is Walcott’s retrospective review of his artistic journey until the age of 33. Moreover, since Omeros draws parallelswith Homeric epics, it seems highly beneficial to this study to include his other rewriting of Homericepics, The Odyssey : a Play. This study makes an effort to show that these two rewritings are complementary to each other: the West Indian epic poem is the quest for identity seen from the point of view of the colonized subject, whereas the West Indian stage drama is the quest for identity from the colonizer’s perspective. Studying Walcott’s poetry and dramas helps one perceive the ways in which the West Indian poet makes an effort to deconstruct the importance of the Western literary tradition through rewriting the Homeric epics. This tradition perpetuates the binary opposition of superiority/inferiority which plays a seminal role in the construction of individual identity. By displacing the Saint Lucian characters and literature from their place in the margins to the center, Walcott decenters the Homeric epics, and Western literature. Creolisation, Colonialism, Postcolonialism,Deconstruction, , History, Memory, Rewriting

The purposes of this study were: 1) to determine the measurement dimensions assayed by the EPIC Self-Assessment Scales; 2) to provide information necessary to'determine whether revision of the EPIC Self-Assessment Scales would be desirable, and if so, what items need revision or deletion to obtain optimum dimensional structure; and 3) to provide information relevant to possible further research using the EPIC Self-Assessment Scales. On the basis of the results, four dominant and two subsidiary factors were concluded to be the measurement dimensions assayed by the EPIC Scales. Those were identified as Self-Assurance, Physical Appearance/Physical Shape, Emotional Lability, and Verbal Competence; subsidiary factors were Social/Interpersonal Attitude and Social Behavior/Sociability. It was also concluded that revision of the Scales be undertaken, deleting the 29 bipolar scale items which did not exhibit loadings of .500 or higher on any of the six factors. It was recommended that the revised Scales include additional bipolar scale items taken from the semantic differential literature, and that the instructions to subjects be revised. Further research to establish the reliability and validity of the revised instrument was also recommended.

The work at hand deals in a broader way with the placement of the Slavic Epic from an architectural point of view. The author first focuses on the role of historical monumental canvases in relation to the formation of the national identity and looks in this respect at some Czech monumental canvases before the Slavic Epic was painted. Another chapter deals primarily with the Slavic Epic. It presents a detailed view on a difficult process of finding a tailor-made exhibition space for the monumental canvas from the point Alfons Mucha started with its painting until the present time. It also shows specific demands on a building in which the Slavic Epic should have been placed. The next chapter presents all projects that have been made so far to build a new exhibition space for the Slavic Epic. Based on the analysis of this work the final chapter describes author's own ideal proposal of a complex architectural solution of the exhibition space which also encompasses exhibition management and marketing.

The object of education in the United States is development of the human being as a person and as a citizen in a democracy. In high school that person is a youth--one whose needs for development are common to the democratic tradition of every age. The greatest wealth of any nation is its human beings. A person is whole and unified, yet he possesses many avenues through which life is realized, experiences are enlarged and control is secured over materials and forces. In view of the objectives above, it is planned to present in the paper a discussion of the way in which Virgil reveals the qualities which if acquired characterize youth as honorable, upright and noble characters. In chapter two which follows, each quality is exemplified by several noteworthy illustrations from the Aeneid. / Typescript. / "August, 1953." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: W. Edwards, Professor Directing Paper. / Includes bibliographical references (leaf 20).

<p>  </p> <p>An epic in verse which follows Shahrazad, the narrator of <em>One Thousand and One Nights, </em>as she leaves the myth after the Nights have ended. In this epic, Shahrazad has three hundred daughters with her girlfriend, and these are the women which feature in the tales. She leaves the world of myth and leaves to America. In her garden, Arabic letters begin to grow, and call her back to her tales and her daughters, and the damage she inflicted with the telling and the leaving. </p>

Scholars have long argued that the rhetorical concept of aemulatio best describes the tie between Milton’s Paradise Lost and Klopstock’s Messias. Against the backdrop of an emerging German national literature, Klopstock’s intention was not to merely imitate but to surpass his English predecessor. This view certainly has some merit, particularly since Klopstock himself alluded to this intention.However, crucial differences in aesthetics are obscured if the Messias is read in this sense. In order to challenge this common notion of the relationship betweenMilton and Klopstock, I analyze concepts of space and divine presence in both epic poems. I show how both Milton and Klopstock presented specific poetic solutions to problems in aesthetics and theology posed by their respective historical ‘situation’ (P. Tillich).

Epic, among the earliest and most universal of genres, is found in a developed form among the most ancient written records of cultures from China to Greece, and has been recorded as oral narrative on every inhabited continent. From these roots in Western culture a varied yet unbroken tradition of heroic narrative has grown. Epic’s form has changed with human society, reflecting our literary, social and psychological development. This study aims to explore the effects in epic literature in English of one such development, namely the internalisation of writing, at two stages of this process as they are manifest in Beowulf and Malory’s Morte Darthur. Every culture has particular noetic processes, that is, methods of structuring and storing knowledge. Writing has profoundly influenced noetic development, so that primary oral cultures (without writing), chirographic culture (with writing) and typographic cultures (with printing) are profoundly different. Parry and Lord’s oral formulaic theory, and Havelock and Ong’s noetic theory describe the characteristics of primary oral thought and poetic discourse. Beowulf’s noetic paradigm is vocality; it is written, yet still largely rooted in the oral tradition and meant to be heard. The Morte shows loosening ties between poetic creation and extra-linguistic tradition in a mix of oral and literate traits. This study traces in Beowulf and the Morte seven characteristics of orality, namely stereotypical/formulaic expression, ceremonial appropriation of history, standardisation of themes, epithetic identification, heavy/ceremonial characters, agonistic style and copiousness. In all seven characteristics, the early signs of literate noetics just discernable in Beowulf are more developed in the Morte, as would be expected. Between Beowulf and the Morte, the form and the function of poetic discourse change. In primary oral epic, words make things real and function as communal memory. Epic discourse forms individuals as communal, ethical, technological beings, and enables human society to give expression to things unknown. Primary epic is in some ways one of the fullest expressions of language’s nature and possibilities. Writing, which relieves the burden of memorisation, frees energy for the development of certain of these functions. The development, made possible by writing, of abstract conceptualisation and then analytical logic is seen in Beowulf’s deathbed musings on heroic worth, which broaden into Malory’s extended critique of chivalry. The opposition of concepts becomes more important than the opposition of persons, and so from agonistic rhetoric grows scientific logic. This development spelled the end of primary epic, and other genres based on logic and analytical syntax developed to fulfil its didactic and prescriptive roles, from charters to essays. The evolutionary role of oral epic, which enabled communal desires to be expressed, passed to romance, but this genre too died with the advent of Enlightenment rationality and modern depth psychology. Fantasy, perhaps, succeeds romance in this function. The study ends with concluding remarks about the future of epic; with the shift from typographic literacy to secondary orality, epic is showing a rebirth in film and literature, notably in J.R.R. Tolkien’s The Lord of the Rings. / Dissertation (Magister Artium (English))--University of Pretoria, 2007. / English / unrestricted

No description available.

No description available.

Epic poems originate from Ancient Greece with the most well-known one being the Odyssey by Homer. Today other forms of media than just poems are considered epic. Video games have the possibility of both being incredibly detailed as the epic modern novel and being a spectacle as seen on epic cinema. The big difference between video games and the other forms of new media is that video games offer the unique experience of space. Players can navigate the game space and explore the different atmospheres and environments that it offers. This thesis delves into what an epic is in the context of level design. The case targets are two levels from the 2018 God of War title and the analysis is done by using passion as a method. The researcher and the player are the same person. The results consist of definition of epic levels and a framework for creating the feeling of epicness through level design.