Thesis (Ph.D.)--University of Delaware, 2009. / Principal faculty advisor: Nina Athanassoglou-Kallmyer, Dept. of Art History. Includes bibliographical references.

Dissertation (Ph. D.)--University of Akron, College of Education, 2006. / "May, 2006." Title from electronic dissertation title page (viewed 09/16/2006) Advisor, Francis Broadway; Committee members, Lathardus Goggins, Suzanne MacDonald, Carole Newman, John Queener; Department Chair, Evonn Welton; Dean of the College, Patricia A. Nelson; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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This thesis project involves the translation of a selection of short stories by Camille Deslauriers, a Québécois writer, from French into English, as well as the translation of a selection of short stories by Angie Abdou, a Western English-Canadian writer, from English into French. The thesis is divided into four chapters into which the translations have been inserted. The chapters provide an introduction and commentary to the translations. I begin by giving a brief overview of the importance of literary translation in Canada as well as a short description of Québécois and English-Canadian short fiction.This section introduces the two authors that have been chosen for this thesis, Camille Deslauriers and Angie Abdou, as well as their collections of short stories, Femme-Boa and Anything Boys Can Do respectively. I discuss various approaches to translation, literary translation, linguistic issues, the translation process, and the issue of mother tongue and directionality. Following the two introductory chapters are the translations. I have translated nine of Camille Deslauriers' short stories from Femme-Boa from French into English, and three of Angie Abdou's short stories from Anything Boys Can Do from English into French. In both cases, these are the first translations to be done of these authors' works. I then go on to describe certain challenges posed by the translations, giving examples of strategies adopted to resolve the problems. In the final chapter, I reflect upon the translation process as a whole, in light of the revisions done by both of my thesis advisors, in terms of vocabulary, syntax, bilingualism, and biculturalism.This reflection enables me to synthesize the knowledge that I acquired through the whole translation experience.

I would like to understand what kinds of connections exist between musical rhythm and poetic and linguistic rhythm, particularly the phenomenon of accent, so I investigated accent in art songs, examining twelve songs in an attempt to further understand how and if the accents and patterns found in poetry correlate to those found in songs based on this poetry. This study examines how the patterns of stressed and unstressed syllables in Lieder by Amy Beach, Richard Strauss, and Camille Saint-Saëns correlate with musical rhythmic and accent patterns in the resulting music. I systematically determined what kinds of accents were present, where they were present, and how they were related. I tracked nine different types of musical accents: agogic, contour, dynamic, articulation, metric, pitch, phrasing, structural, and textural. I then tracked the linguistic accents in the poems themselves, with the categories of meter, individual word stresses (if different from the meter), rhyme scheme, internal rhymes, and cadences (ends of sentences and questions). I then compared the accents found in the music to the accents found in the poetry. I then compared the correlation of linguistic and musical accents through graphic representation of the values I found. I found significant correlation between musical and linguistic accents in the twelve different pieces I studied. These results suggest that, for at least these three composers, the text does in fact influence the accent patterns of the music. For the songs of Beach and Strauss, there is a visual pattern in the graphs, which matches the meter of the text. The linguistic and musical accent patterns in both Beach and Strauss songs tended to be regularly alternating in a binary fashion, in keeping with the iambic meter. For Saint-Saëns, there was overall close correlation as well. The main difference between graphs for Saint-Saëns and the others seems to be the lack of a pattern in the relative accent strengths, which can be found in both the English and German graphs. French poetry does not have an iambic pattern to it; correspondingly the music doesn't show the regular binary alteration of accents. This pattern or lack thereof is part of the correlation that all of the pieces share between the music and the language, and the lack of pattern seems to demonstrate a particularity in the music in the case of French. Though showing how accents in music and text correlate in the songs of English-, German-, and French-speaking composers, this thesis does not fully determine how and if musical and linguistic accents correlate in music composers other than Amy Beach, Richard Strauss, and Camille Saint-Saëns.

Camille Saint-Saëns's (1835–1921) Messe de Requiem op. 54 (1878) is among the many works by that composer that are all but forgotten by contemporary musicians. As is the case with most of Saint-Saëns's forgotten works, it is of remarkably high quality, possessing numerous features that make it desirable and accessible to a variety of ensembles. This study seeks to bring greater awareness of the piece to a wider audience, to provide a framework for understanding the most prominent style features of the work, and to ascertain its relationship to other well-known French Requiems of the nineteenth century. To this end, this study identifies and summarizes two trends in French Requiem composition in the nineteenth century: the dramatic trend, exemplified by the Grande Messe des morts op. 5 (1837) of Hector Berlioz, and the conservative trend, exemplified by the second and third of Charles Gounod's four Requiem settings: the Messe breve pour les morts (1873), and the Messe funèbre (1883). Salient style features of these three works are discussed in order to determine how their respective composers bring about the dramatic and conservative affects of their respective works. An analysis of the form, text setting, expressive elements (including dynamics, articulation, and orchestration), harmonic practice, and choral voice leading of Saint-Saëns's Requiem is also given, including a discussion of the relationship of the style features of this work to those of the Berlioz and Gounod Requiems.

The French temperance movement during the nineteenth century believed that it had discovered the source of social problems when it linked accidents, conjugal violence and crime to an increase in alcohol consumption by the working classes. In a swift attempt to curb these societal ills, the campaign led by the medical community targeted the working classes in France. This instigated the further alienation of the masses and allowed government officials to promote its own agenda of moral reform. In an effort to expose the elitist intentions of this state run temperance movement, this thesis analyzes four images from Camille Pissarro's unpublished album, Turpitudes Sociales of 1889, which represent similar imagery but with an opposite message. I will analyze these images from Pissarro's unpublished work in order to shed light on his incorporation of class relations and depiction of the bourgeoisie's negative impact on the French working classes.

Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2018-10-23T20:43:31Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Taslins_Ferreira_Herbstrith_Dissertação.pdf: 3014892 bytes, checksum: 344c9e442547134b98da4e5dc2bcc273 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-11-06T18:53:32Z (GMT) No. of bitstreams: 2 Taslins_Ferreira_Herbstrith_Dissertação.pdf: 3014892 bytes, checksum: 344c9e442547134b98da4e5dc2bcc273 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-11-06T18:53:41Z (GMT) No. of bitstreams: 2 Taslins_Ferreira_Herbstrith_Dissertação.pdf: 3014892 bytes, checksum: 344c9e442547134b98da4e5dc2bcc273 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-06T18:54:34Z (GMT). No. of bitstreams: 2 Taslins_Ferreira_Herbstrith_Dissertação.pdf: 3014892 bytes, checksum: 344c9e442547134b98da4e5dc2bcc273 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-10-16 / Esta dissertação analisa as relações de gênero, história e sociedade, a partir da trajetória de duas mulheres artistas ativamente inseridas no campo da Arte na França no final do século XIX: Mary Cassatt e Camille Claudel. Mary Cassatt (1844-1920) artista estadunidense, passa sua vida adulta em Paris e estabelece conexões com os impressionistas e críticos de arte, alavancando sua produção para além das fronteiras entre os dois países. Camille Claudel (1864-1943), artista francesa, tem uma intensa produção na área da escultura no final do século XIX, alternando referências simbolistas e autorais, em meio a um contexto conturbado junto ao artista Auguste Rodin, com quem produz grande parte de sua vida. Este trabalho tem por objetivo questionar suas trajetórias, obscurecidas em meio a uma historiografia tradicional e em grande parte masculina. Utilizam-se como fontes documentais cartas e biografias, assim como as obras produzidas por elas no período em questão. A metodologia empregada na pesquisa é a análise comparativa das imagens e textos como narrativas, tendo como foco a discussão acerca das categorias do público x privado, propostas por Griselda Pollock (1988), no que diz respeito às diferentes formas como homens e mulheres se locomoviam na França no final do século XIX, e à relação existente entre sexualidade, modernidade e modernismo. Também é referencial da investigação Marcel Detienne (2004) pela possibilidade de se comparar objetos distantes, como a trajetória de duas artistas que viveram em temporalidades distintas apesar de mesma espacialidade, de modo a entender de que forma o protagonismo artístico se deu na trajetória das artistas, em meio a seu papel social e contexto de produção. Nesse sentido, compreendeu-se que ambas inseriram-se no sistema das Artes por intermédio de suas relações pessoais. Ainda que distintas, suas posições sociais influenciaram para que obtivessem espaço em um campo dominado pela masculinidade. Mary Cassatt conheceu o sucesso e o desfrutou o mesmo não aconteceu com Camille Claudel que teve de lidar com uma sociedade com padrões rígidos no que diz respeito ao comportamento de uma mulher independente demais para a época. / This dissertation analyzes the relations of gender, history and society, from the trajectory of two women artists actively inserted in the field of Art in France in the late nineteenth century: Mary Cassatt and Camille Claudel. Mary Cassatt (1844-1920), an American artist, spends her adult life in Paris and establishes connections with the impressionists and critics of art, leveraging her production beyond the borders between the two countries. Camille Claudel (1864-1943), French artist, has an intense production in the area of sculpture in the late nineteenth century, alternating symbolist and authorial references, amidst a troubled context next to the artist Auguste Rodin, with whom he produces much of his life. This work aims to question their trajectories, obscured in the middle of a traditional and largely male historiography. Letters and biographies, as well as the works produced by them in the period in question, are used as documentary sources. The methodology used in the research is the comparative analysis of images and texts as narratives, focusing on the discussion about the categories of the public x private, proposed by Griselda Pollock (1988), regarding the different ways men and women move in France at the end of the nineteenth century, and the relationship between sexuality, modernity and modernism. It is also a reference of the Marcel Detienne (2004) research for the possibility of comparing distant objects, such as the trajectory of two artists who lived in different temporalities despite the same spatiality, in order to understand how the artistic protagonism occurred in the trajectory of the artists, in the midst of its social role and production context. In this sense, it was understood that both were inserted in the system of Arts through their personal relations. Although different, their social positions influenced to obtain space in a field dominated by masculinity. Mary Cassatt knew the success and enjoyed the same did not happen with Camille Claudel who had to deal with a society with rigid standards regarding the behavior of a woman too independent for the time.

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