Thesis (Ph. D.)--West Virginia University, 2004. / Includes bibliographical references (p. 161-171) and index.

This study considers the role of tragedy in Ovid’s Metamorphoses as demonstrated in four different episodes, those of Cadmus, Hercules, Hippolytus, and Medea. I have identified two main themes that the episodes share, namely, generic tension, particularly between epic and tragedy as emphasized by intertextual allusion to Virgil’s Aeneid, and the use of apotheosis as a means of not only transforming the character in question, but also signalling a generic shift, more appropriate for Augustan Rome. However, Ovid’s treatment of tragedy varies dramatically from one narrative to the next. Cadmus’ civic foundation is plagued with tragic themes and his apotheosis occurs only by later substitution. Hercules and Hippolytus achieve relatively standard deifications by pushing past the boundaries of their tragedies, but their refashioned selves are called into question. And the apparent apotheosis of Medea is even less straightforward, as she appears forever preserved in tragedy through meta-literary self-consciousness.

Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-08-07T20:39:12Z No. of bitstreams: 1 DissCJMSJ.pdf: 869918 bytes, checksum: be5311add9b63b3791b5ff00a316b852 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-09T13:38:09Z (GMT) No. of bitstreams: 1 DissCJMSJ.pdf: 869918 bytes, checksum: be5311add9b63b3791b5ff00a316b852 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-09T13:38:15Z (GMT) No. of bitstreams: 1 DissCJMSJ.pdf: 869918 bytes, checksum: be5311add9b63b3791b5ff00a316b852 (MD5) / Made available in DSpace on 2017-08-09T13:53:49Z (GMT). No. of bitstreams: 1 DissCJMSJ.pdf: 869918 bytes, checksum: be5311add9b63b3791b5ff00a316b852 (MD5) Previous issue date: 2014-12-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This research presents the investigation of the epic genre´s manifestations within Brazilian audiovisual environment having as object the miniseries A muralha (TV Globo, 2000), based on the novel A muralha (1954) by Dinah Silveira de Queiroz, written by Maria Adelaide Amaral and directed by Denise Saraceni, Carlos Araújo and Luís Henrique Rios. The intersections between the productive practices of TV Globo and the referential legacy of the epic genre in film and television fields are discussed, taking into account aspects of interculturalism and the context of the celebrations of the 500th anniversary of the discovery of Brazil, a period marked by a boom of historic telefictions and the modernization of production strategies and marketing of audiovisual works made by the television network. The work performs an approximation to the binomial TV-cinema relationship in the open television programming and how this articulated the epic genre in his schedule in primetime serial form. / Esta pesquisa apresenta a investigação das manifestações do gênero épico no âmbito do audiovisual brasileiro tendo por objeto a minissérie A muralha (TV Globo, 2000), baseada no romance A muralha (1954) de Dinah Silveira de Queiroz, escrita por Maria Adelaide Amaral e dirigida por Denise Saraceni, Carlos Araújo e Luís Henrique Rios, e supervisionada pelo produtor Daniel Filho. São discutidas as interseções entre as práticas produtivas da TV Globo e o legado referencial do gênero épico nos campos cinematográfico e televisivo, levando-se em conta aspectos da interculturalidade e o contexto das comemorações dos 500 anos do descobrimento do Brasil, período que foi marcado por um boom de teleficções históricas e pela modernização das estratégias de produção e comercialização dos produtos audiovisuais realizados pela emissora. O trabalho realiza uma aproximação ao binômio TV–cinema na programação televisiva aberta e o modo como esta articulou o gênero épico em sua grade no horário nobre na forma seriada.

Made available in DSpace on 2015-04-17T15:01:59Z (GMT). No. of bitstreams: 1 ArquivoTotal.pdf: 2571869 bytes, checksum: 8e83982fbf226c32b4802cd7eb9d0551 (MD5) Previous issue date: 2012-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação tem por objetivo analisar a presença do sagrado na literatura. Trabalhamos com a hipótese segundo a qual a literatura das civilizações grega e romana pode ser um registro das manifestações de religiosidade através do mito e do rito. Diante da extensa produção literária dessas civilizações, optamos por fazer um recorte dessa literatura, e estabelecemos como objeto de pesquisa a Eneida de Virgílio e a Farsália de Lucano, mas, para isso fez-se necessário começarmos nossa pesquisa a partir das obras de Homero e Hesíodo. Buscamos expor o contexto histórico de Roma com relação a cada obra e suas influências na religiosidade do povo romano. Desta forma, analisamos as obras citadas com relação a sua estrutura formal e aos elementos de religiosidade que foram inseridos em cada uma delas: mitos citados, ritos realizados e manifestações do sagrado encontradas tanto na Eneida quanto na Farsália, e entendemos que nas duas obras, os principais elementos sagrados estão na Jornada do Herói. Com relação aos procedimentos metodológicos, este trabalho foi realizado através de uma pesquisa bibliográfica, seguindo o método qualitativo. Para o desenvolvimento da pesquisa tomamos como fundamentação teórica Mircea Eliade e Joseph Campbell.

The problem with which this investigation is concerned is that of the evaluation of the effectiveness of the EPIC model as a guide to group counseling. The purposes of this study are to determine (1) whether group counseling using the EPIC model would result in positive gain in counsele's locus of control, (2) whether there would be a differential effect of group counseling using the EPIC model as compared with a traditional group counseling model or a control group. This report concludes that the EPIC model as a guide to group counseling is an effective means of increasing reliance on inner support, emotional stability and objectivity. The EPIC model also produces changes in assessed congruence of the various factors in the actual vs. ideal aspect of inter-intrapersonal functioning. The EPIC model facilitated the growth of internal locus of control.

From introduction: In the sixth book of The Faerie Qveene, the reader is presented with a vision of the Graces and their attendants dancing on Mount Acidale to the piping of a simple shepherd. Spenser identifies this favoured musician as Colin Clout and then goes on to pose a seemingly inconsequential rhetorical question. "Who knowes not Colin Cloute?” he asks. The note of confident pride which can be discerned in the query clearly reveals Spenser's peculiar interest in one of his most intriguing creations. It is almost impossible to read a representative selection of Spenser's poetical works without noticing the hauntingly frequent appearances of his "Southerne shepheardes boye". Colin appears or is named in no fewer than six of Spenser's poems.

Par les thèmes centraux qui l’animent sans relâche – honneur, devoir, trahison, châtiment, vengeance, … –, le cycle de Guillaume d’Orange entretient avec le droit médiéval d’étroits rapports thématiques que les jongleurs n’ont cessé d’exploiter pour nourrir la trame narrative relatant les hauts faits de la famille de Narbonne. Nées dans un contexte historique, politique et social particulièrement dense, propice aux innovations en matière de réflexion éthico-juridique, les chansons du cycle de Guillaume imposaient de s’interroger sur la nature profonde de ces liens afin de mieux saisir ce qui constitue la représentation épique du juste et de l’injuste. Comme cette opposition n’apparaît jamais en ces termes dans notre corpus, notre souci premier fut d’adapter aux mentalités et aux préoccupations inhérentes au contexte de production du cycle de Guillaume les outils conceptuels qui allaient fonder notre démarche : plutôt que de rechercher les manifestations du juste et de l’injuste selon une opposition moderne en distinguant les obligations découlant du droit positif des devoirs imposés par la morale, nous avons choisi de nous intéresser à toutes les normes sociales dont la présence, plus ou moins implicite dans nos textes, impose toutefois à nos personnages épiques une impérieuse restriction d’action, tant dans la sphère privée que sur la scène publique. Au terme de notre parcours, il est apparu que les normes enjointes à la société épique du cycle de Guillaume d’Orange ne s’organisaient pas autour des deux pôles normatifs (terrestre et humain d’une part, spirituel et divin d’autre part) qui avaient constitué notre hypothèse de départ : c’est une hiérarchisation normative bien plus floue et bien plus relative – dont l’existence trouve sa source en outre dans l’épisode central du couronnement de Louis par Guillaume – qui régit la société de notre corpus et permet ainsi aux jongleurs des potentialités dramatiques aussi riches que nombreuses. / Through the central, ubiquitous themes that animate it – honor, duty, betrayal, retribution, vengeance – the cycle of William of Orange maintains close thematic links with medieval law, links that the jugglers never ceased to use in order to provide a narrative framework to relate the exploits of the Narbonne family. The songs of the cycle of William were born into an especially intricate historical, political, and social context conducive to innovations in ethical-juridical reflection, and so had to wrestle with the profound nature of these links in order to grasp more deeply the epic representation of the just and the unjust. Since this opposition never appears in our corpus in these terms, our first concern was to calibrate the conceptual tools intended to ground our method to the mentalities and preoccupations inherent in the context of the production of the cycle of William: rather than seeking the manifestations of the just and the unjust according to a modern opposition by distinguishing obligations that flow out of positive law from duties imposed by morality, we decided to concern ourselves with all the social norms whose presence, more or less implicit in our texts, nevertheless demands of our epic characters an urgent restriction of action, as much in the private sphere as in the public. At the end of our investigation it appeared that the norms enjoined upon the epic society of the cycle of William of Orange were not organized around the two normative poles which had constituted our initial hypothesis (terrestrial and human on the one hand, spiritual and divine on the other): itis a normative hierarchization much more fluid and relative – whose existence finds its source, moreover, in the central episode of the coronation of Louis by William – that reigns over the society of our corpus and that thus grants the jugglers dramatic possibilities as rich as they numerous.

Ao refletir sobre o seu próprio romance anos depois de tê-lo escrito, George Eliot disse a respeito de Romola que foi esse o romance que ela escreveu com seu melhor sangue, indicando assim uma predileção por esse livro. Uma análise de sua fortuna crítica, ainda que superficial, revela que Romola é o menos conhecido entre os seus romances. Ao passo que alguns poucos críticos contemporâneos, como Henry James e Robert Browning, por exemplo, publicaram elogios entusiasmados, o tom geral das opiniões contemporâneas sobre a obra é de decepção. O motivo mais comumente apresentado para isso é que o quarto romance de Eliot se desvincula da realidade que a autora muito bem conhecia e, por isso, falha ao tentar representar verdadeiramente o estado de espírito de Florença e dos florentinos ao final do século quinze. O resultado de tal fracasso seria a produção de um romance construído a partir de esforço intelectual e não de imaginação poética, com uma fuga desnecessária ao passado e a um cenário estrangeiro que teria produzido personagens e eventos improváveis. O conflito entre a apreciação de Eliot sobre sua própria obra e a opinião geralmente expressa em sua fortuna crítica é notável e prove a motivação inicial do presente trabalho. Ao resumir o foco central da crítica de Romola, a professora Felicia Bonaparte diz que George Eliot jamais desapontou seus leitores tanto quanto o fez em Romola. O objetivo deste trabalho é investigar o que considero ser os principais motivos para tal desapontamento: que, em Romola, mais especificamente do que em seus outros romances, George Eliot estava experimentando com a forma do romance e alargando os seus limites para acomodar convenções formais e efeitos estéticos que, até então, eram entendidos como pertencentes, quase que exclusivamente, a outros gêneros literários que não o romance. O efeito imediato desse experimento é uma reconfiguração do realismo e da interação entre os gêneros literários que pareceu aos contemporâneos uma junção descriteriosa de elementos soltos. Em Romola, observa-se a escritura de George Eliot progredindo para um tipo mais moderno de romance. O presente trabalho terá atingido seus objetivos se argumentar coerentemente que, ao invés de uma mistura aleatória de convenções, Romola é um precursor do romance modernista. O trabalho seminal de Georg Lukács na Teoria do Romance ilumina o potencial de Romola em conter boa parte dos gêneros literários dentro de si e a coleção O Romance, de Franco Moretti, fornece à presente reflexão um valioso suporte crítico e teórico em pontos nos quais se percebe lacunas deixadas pela obra de Lukács. O trabalho de Felicia Bonaparte sobre George Eliot e os estudos de George Levine sobre realismo embasam a reflexão sobre a literatura inglesa do século dezenove que se desenvolve aqui. / Looking back on her own novel several years after its composition, George Eliot said of Romola that it had been the novel she had written with her best blood, thus indicating a predilection for it among her other books. A survey of her critical fortune, even if a quick one, reveals that Romola is the least popular of her novels. Whereas a few contemporary critics, such as Henry James and Robert Browning, have published enthusiastic reviews, the general tone of these opinions is of disappointment. The most common reason presented is that George Eliot’s fourth novel departs too much from the reality the author knew so well and fails to represent truthfully the zeitgeist of Florence and Florentine people at the close of the fifteenth century. The result of such failure would be a novel constructed out of intellectual effort rather than poetic imagination, with an unnecessary flight to the past and foreign setting which produced improbable events and characters. The clash between George Eliot’s appraisal of her book and the general opinion expressed in its critical fortune is noteworthy and provides the initial motivation of this thesis. Summarising the bulk of criticism about Romola, professor Felicia Bonaparte states that George Eliot never disappointed her readers as much as she did with Romola. The goal of this work is to investigate what I consider to be the main reason for this disappointment: that in Romola, more explicitly than in her other novels, George Eliot was experimenting with the form of the novel and stretching its limits to accommodate formal conventions and aesthetic effects until then generally thought to belong almost exclusively to other genres. The immediate effect of this experiment is a reconfiguration of realism and of the interplay between literary genres which looked like an unselective assortment of loose elements. In Romola, we see George Eliot’s writing progressing towards a more modern kind of novel. This work will have been successful if it can coherently argue that, rather than a random mixture of conventions Romola is a harbinger of the modernist novel. The seminal work of Georg Lukács in The Theory of the Novel sheds some light on the potential of Romola for containing most genres within it and Franco Moretti’s collection The Novel provides valuable critical and theoretical support for this thesis at points in which blanks are left by Lukács’s book. Felicia Bonaparte’s work on George Eliot and George Levine’s studies on realism contribute valuably to the interpretation of English nineteenthcentury that unfolds in the present work.

No description available.

This thesis was focused on suitability of selected molecular markers for detection of genetic variability of four species from the family Calliphoridae important in the forensic entomology. A set of eight markers, both mitochondrial (COI, ND6, CytB, CR) and nuclear (RP S12, RP S13, RP L12, PB2), were applied on samples from natural populations of representative species (Calliphora vicina, Lucilia caesar, Lucilia sericata, Phormia regina) most common in the Czech Republic. Level of detected variability was evaluated and compared, both with respect to the particular species as well as their geographic origin.