Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 135-141). Also available on the Internet.

Made available in DSpace on 2015-05-14T12:52:31Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9138854 bytes, checksum: ab441256c1895d46734a1cce4e4e43cc (MD5) Previous issue date: 2013-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / A Carmen Fantasy for Double Bass and Piano: a technical and interpretative study. A research realized about the work written by the American composer Frank Proto (1941). This work has as one of its approaches the stylistic contribution of François Rabbath (1931) granted in the piece. It contains an analysis of the form, harmonic and melodic structures of each movement, which are presented as the main focus of this paper, and also an exposition of the opera´s excerpts used into the Fantasy. This analysis shows the jazzistcs features that the composer uses in the piece. As an aid to practice preparation, I include indications of fingerings. The work also includes a brief biography of the composer Frank Proto, the bassist François Rabbath and a synopsis of the opera Carmen, where there is a description of the scenes from the opera used into this fantasy. / A Carmen Fantasy para contrabaixo e piano: um estudo técnico e interpretativo. Uma pesquisa realizada acerca da obra escrita pelo compositor norte americano Frank Proto (1941). Este trabalho tem como uma das suas abordagens a contribuição estilística que François Rabbath (1931) concedeu na obra. Contém uma análise da forma, estrutura harmônica e melódica em cada movimento, que são apresentadas como conteúdo principal deste trabalho e um esclarecimento dos trechos da ópera utilizados na Fantasia. A análise expõe as características jazzísticas que o compositor utiliza na obra. Como ajuda na preparação do estudo, estão incluídas sugestões de dedilhados. Esta dissertação inclui também uma breve biografia do compositor Frank Proto, do contrabaixista François Rabbath e uma sinopse da ópera Carmen, onde há a descrição das cenas da ópera utilizadas nesta fantasia.

Dans notre thèse de doctorat, nous avons publié presque intégralement l’édition critique commentée de l’exégèse au Bucolicum carmen de Pétrarque réalisée par Francesco Piendibeni de Montepulciano, humaniste italien du Trecento tardif. L’exégèse, achevée à Pérouse en 1394, est conservée dans le manuscrit autographe Città del Vaticano, Biblioteca Apostolica Vaticana, Pal. lat. 1729. Dans son ensemble, l’oeuvre est restée jusqu’à aujourd’hui inédite : seul Antonio Avena, en 1906, a fourni une simple transcription, partielle et imparfaite, de quelques gloses. Notre édition a l’ambition d’être novatrice : non seulement elle établit et analyse de manière critique un texte resté longtemps méconnu, mais elle permet aussi d’approfondir la connaissance du poème bucolique de Pétrarque, de mieux évaluer sa réception auprès des érudits qui lui ont succédé et d’éclairer la connaissance de la tradition exégétique du premier Humanisme. Une source fondamentale pour Piendibeni est le commentaire au Bucolicum carmen réalisé par Benvenuto da Imola : nous enavons fourni une transcription inédite tirée du manuscrit Paris, Bibliothèque nationale de France, lat. 8700. Enfin, nous avons mis à jour la liste des manuscrits connus qui appartinrent à Piendibeni et reconstruit ainsi pour la première fois de manière approfondie sa bibliothèque. / This doctoral thesis presents, almost in its entirety, the critical edition with commentary of the exegesis of Petrarch’s Bucolicum carmen by Francesco Piendibeni of Montepulciano, an Italian humanist of the late Trecento. The exegesis, completed in Perugia in 1394, is preserved in the autograph manuscript Città del Vaticano, Biblioteca Apostolica Vaticana, Pal. lat. 1729. The work as a whole has remained unpublished until today; only Antonio Avena, in 1906, provided a simpletranscription, partial and imperfect, of some glosses. The edition contained in this thesis aims at being innovative; in effect, it not only establishes and critically analyses a text which has remained unknown for a long time, but also makes it possible to delve deeper into the knowledge of Petrarch’s bucolic poem, to better assess how it was received by the scholars who came after him and to shed light on the exegetical tradition of early Humanism. A fundamental source for Piendibeni was Benvenuto da Imola’s commentary on the Bucolicum carmen; an unpublished transcription is provided here, based on the manuscript Paris, Bibliothèque nationale de France, lat. 8700. Finally, the list of known manuscripts belonging to Piendibeni has been updated, so that, for the first time, his library has been exhaustively reconstructed.

Nada é considerada a primeira referência de romance do realismo existencialista do pósguerra civil espanhol. Em 1944, mesmo ano de seu lançamento, obteve o reconhecimento por parte da crítica especializada, com a primeira edição do Prêmio Nadal de Literatura. Hoje, é objeto de estudo dos que se ocupam com sua crítica e parte obrigatória de qualquer antologia ou história da literatura espanhola do século XX. O objetivo desta dissertação é fazer uma tradução da obra Nada, de Carmen Laforet. Relataremos os impasses que foram enfrentados nesta versão, seja na manutenção do estilo, seja na escolha do léxico, na fluidez do texto, nas estruturas gramaticais e semânticas do romance. A proposta é a de seguir o caminho sinuoso e complexo da tradução, mantendo o sentido e o tom do texto de partida. A pesquisa realizada junto aos teóricos sobre tradução fez-nos perceber a impossibilidade de postular uma única teoria que consiga resolver todas as facetas do processo tradutório. Uma vez que não há regras para todos os casos, sobram-nos como consolo os empíricos conselhos sobre literalidade e fidelidade, destinados a quem se aventura no universo da tradução. / \'Nada\' is considered to be the first framework for the existentialist realism of the Spanish postcivil war. In 1944, same year of its launch, it won recognition by the literary critic when it received the first edition of the Nadal prize of literature. Today it is object of study of the ones who occupy with its critique, and compulsory part of any anthology or 20th century Spanish literature history. The aim of this dissertation is to make a translation of the work Nada by Carmen Laforet. We will relate the impasse faced in this version, either in keeping the style, in the lexical choice, in the fluency of the text,or in the grammatical and semantical structures of the novel.The proposal is to follow the sinous and complex path of translation, maintaining the sense and the tone of the original. The research elaborated on translation by the theorists made us perceive the impossibility of postulating a single theory that is able to resolve all the facets of the translating process. Since there are no rules for all cases, we are left, as consolation, with the empirical advice on what is literal and faithful, aimed at whom takes risks in the universe of translation.

This study focuses on a comparative analysis of two piano paraphrases, Pastiche on Habanera from ‘Carmen’ by Kaikhosru Sorabji and Variations on a Theme from Bizet’s ‘Carmen’ by Vladimir Horowitz. These compositions idiomatically distort the original material in a manner that was not explored up to the moment of their respective conception. They expose each composer’s free compositional approach, reflecting musical freedom rooted in the originality of their musical thinking. The aesthetic uniqueness of these two compositions strongly stimulates and justifies academic interest to explore their technical construction, musical differences, and artistic significance. This study proposes to undertake a comparative study of these two compositions, analyzing (1) aspects of the musical character, which are linked with embellishment, or rearrangement of original material, and (2) differences in performance approach based on recorded examples and critical observations by others of the performances of these works by Sorabji and Horowitz.

Thesis advisor: Irene Mizrahi / This dissertation explores the motif of burial in Carmen Martín Gaite’s 1978 novel El cuarto de atrás and in so doing sheds light on some of the text’s most famous ambiguities. Martín Gaite began writing El cuarto de atrás on November 23, 1975 after watching the burial of the Spanish dictator, Francisco Franco, on television. Within her text she unearths long suppressed memories of her life during the dictatorship. In this way burial and un-burial frame El cuarto de atrás and allow for other instances of burial and un-burial to guide the reader’s interpretation of this complex and ambiguous text. On the novel’s last page the narrator-protagonist C. encounters three objects: a copy of Dashiell Hammett’s detective novel, The Thin Man, a small golden box (la cajita dorada), and a pile of pages titled “El cuarto de atrás”. Each chapter of this dissertation begins by questioning the significance of one of these objects, which leads to the discovery of concealed meanings in the novel. The Thin Man calls attention to detective fiction and the ratiocinative process by which detectives reconstruct narratives to solve mysteries. The cajita dorada recalls a caja amarilla that appears at the end of Mariano José de Larra’s essay, “La Nochebuena de 1836,” and reveals parallels between the two texts that characterize Martín Gaite’s reaction to Spain’s period of transition following Franco’s death. The accumulation of the pile of pages and C.’s beginning to read them at the novel’s close are homologous to the psychoanalytic treatment of trauma, the goal of which is to excavate memories buried deep within a survivor’s psyche. When C. discovers The Thin Man on her daughter’s bedside table, she reads he description on its cover: “…indicios contradictorios, pistas falsas, sorpresa final.” This dissertation interprets these words as Martín Gaite’s insistence on the active participation of the reader and her invitation for him to discover messages that she has buried within her complex novel. By recognizing these three objects as clues to the novel’s interpretation, this dissertation enlightens an ambiguous text and acknowledges the reader’s power to create meaning from uncertainty. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Lo héroes trágicos son los seleccionados para llevar una vida extraordinaria llena de aventuras y retos. Sin embargo, hacia el cumplimiento de su objetivo, ellos deben seguir un camino dramático, uno que no pueden elegir, sino que estará impuesto por el hado. Es por ello que ningún héroe trágico es portador de la felicidad ni de la buena ventura, su final siempre ha de ser funesto. Por ello, nos preguntamos: ¿todos los héroes trágicos seguirán el mismo camino hacia la inevitabilidad de su desdicha? La muerte es la culminación del camino recorrido por el héroe trágico y es, al mismo tiempo, la redención de sus faltas, pues a lo largo de su camino dramático ha cometido muchas: es soberbio y tirano, y conoce el alcance de su poder y lo maneja a su conveniencia. Es así que la imagen de los héroes trágicos ha ejercido fascinación en nosotros, desde un comienzo con el mito de Edipo. Su representación teatral nos demuestran lo temible que es el destino. El hado está marcado y mientras más se alejen los héroes de su destino, más próximos estarán de encontrar su desgarrador final. Es así que Edipo se ha convertido en el arquetipo del héroe trágico por excelencia. / Tesis

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Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 214-238).

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Virginia Higginbotham. Vita. Includes bibliographical references. Available also from UMI Company.