D.Litt. / The purpose of this study is to demonstrate the role which tradition plays in Ritsos' poetry. It constitutes three chapters: Ancient tradition in Ritsos' poetry but more especially in the poems of The Fourth Dimension. The Folk Song and Ritsos' Epitaph. Folk, Historical, Literary, and Religious tradition in Ritsos' poetry but more especially in the following poems: Romiossini ("Greekness'), Kira Ton Abelion ("Lady of the Vineyards'), Teratodes Aristourgima ("Monstrous Masterpiece'). In the early section of the first chapter, emphasis is placed on the presence of "myth" in Ritsos' poetry - myth, which enriches it with symbols and references drawn from the entire mythological nexus. Ritsos penetrates modern man's thoughts, feelings and actions. He applies the principle of objectivity, which at the same time is the "basic function" of his mythical method. In the second part, emphasis is placed not only on the dramatic monologues of Ritsos' Fourth Dimension but also on the manner in which the monologues relate with ancient drama, where Ritsos with his own personal and vivid style gives it that human drama which identifies with that of Greek tragedy. Furthermore, existing linguistic similarities and differences are illustrated which exist in The Fourth Dimension and ancient drama. The dramatic factor is examined in the poems and monologues as also on the demystification and the unheroic - a factor common to both Ritsos and Euripides. The second chapter demonstrates the influence of folk songs on Ritsos' poetry and more especially on the Epitaph. A detailed discussion is presented on the manner in which the Epitaph relates with the Laments (folk songs of grief and lamentation), with the following points of comparison used in this regard: use of the Fifteen Syllabic Metre, language, vocabulary, syntactical and paratactical elements, pleonastic uses, figures of speech, symmetry, rhyme and literary style, inter alia. The third chapter examines in detail the element of tradition (ancient, historical, literary, Christian, religious and folk-lyric factors) in the following poems: 'Romiossini' ('Greelcriess), 'Kira Ton Abelion' (Lady of the Vineyards) and 'Teratodes Aristourgima' (Monstrous Masterpiece '). The aim in this section is to ascertain (by means of direct and indirect examples drawn from Greek Tradition) the degree of influence which tradition exerts on Ritsos' work and the, manner in which Ritsos' work relates to it. Obvious similarities are pointed out - those which are contained in 'Romiossini' and Solomos"Eleftheri Poliorkimeni' ('The Free Besieged). Furthermore, similarities found in Sikelianos"/era Odos' ('The Sacred Way) and 'Kira Ton Abelion' ('Lady of the Vineyards) are compared with those found in Makriyannis and Theophilos (common element in Ritsos - Seferis-Elytis). Similarities found in 'Teratodes Aristourgima' (Monstrous Masterpiece) are compared with those of Kariotakis, Palamas ('Dodecalogos tou Giftou' - ' Gypsy's Dodecalogue), Porfiras, Varnalis, Tsirkas, 'Erophili and Erotocritos'.

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L'engagement de Gabrielle Roy n'ayant pas toujours été considéré comme allant de soi, ce mémoire se veut en quelque sorte une mise au point sur la question. En suivant la progression de deux tendances significatives qui traversent l'œuvre de la romancière, soit la subjectivation de la voix et la nuance du discours, notre recherche vise à mieux comprendre le rapport complexe que l'écrivaine entretient dans ses livres avec les enjeux de domination et à retracer, à même l'œuvre, l'évolution de son engagement pour la justice sociale. Notre hypothèse veut qu'il y ait non seulement un processus de nuance du discours au fil de la carrière romanesque de Gabrielle Roy, mais que celui-ci est indissociable du phénomène de subjectivation de la voix qui se trace en parallèle et que c'est précisément là, dans cette tension réconciliée par l'écriture, que se trouve le véritable engagement régien pour la cause des groupes dominés. Pour apporter des éléments de réponse à cette hypothèse, nous posons notre regard sur trois « chapitres » de la carrière romanesque de Gabrielle Roy (Bonheur d'occasion [1945], Rue Deschambault [1955] et La détresse et l'enchantement, [1984]) pour ainsi retracer l'évolution des stratégies narratives et stylistiques permettant à l'écrivaine de protéger son intégrité tout en forgeant un plaidoyer implicite en faveur de l'égalité et de l'inclusion.

Benjamin David (Benny) Goodman known for his unique style of jazz clarinet performance and the acclaimed "King of Swing" began studying and performing standard clarinet repertoire after becoming firmly established as a jazz musician. Goodman's thirst for new works and desire to become a recognized concert artist led to a series of commissions from noted composers of the twentieth century. The works created as a result of these commissions have received varied acceptance, yet are important contributions to clarinet repertoire. Some of the works included in this study have been described in other studies, yet no other study exists which summarizes the history, nature and import of non-jazz works commissioned by Goodman. This study is divided into four chapters. Chapter one summarizes Goodman's early musical training and the establishment of his jazz career; chapter two summarizes Goodman's study and performance of standard clarinet repertoire; and chapter three includes a description of each commissioned work in terms of history and musical style. Reviews, especially of premiere performances, are noted and summarized. The concluding chapter includes evaluative comments by recognized clarinetists about these works, documentation of recent rentals of their accompaniments, and a survey of current recordings available for each work. Works included in the study are: Contrasts for Violin, Clarinet, and Piano by Bela Bartok; Concerto for Clarinet and String Orchestra by Aaron Copland; Concerto for Clarinet and Orchestra by Paul Hindemith; Concerto for Clarinet and Orchestra by Darius Milhaud; and Derivations for Clarinet and Band by Morton Gould. An unpremiered Concerto for Clarinet, Cello, and Orchestra by Allen Shawn is described. Letters written by composers Bela Bartok, Paul Hindemith, Morton Gould, Darius Milhaud, and Allen Shawn concerning their commissioned works were collected and are summarized. These letters along with the reviews of premiere performances, statements by noted clarinetists, and data concerning recent performances and recordings of works commissioned by Goodman form a new perspective of their history, nature and significance.

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Photocopy of typescript. / Digitized by Kansas Correctional Industries

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Reproduction de : Thèse de doctorat : Etudes anglophones : Lyon 2 : 2005. / Titre provenant de l'écran-titre. Bibliogr. Index.