Young adult literature is a genre of literature that is often overlooked. Adolescents would greatly benefit from reading young adult novels, academically and also for enjoyment. Educators are not using young adult literature as often as they should in the classrooms as a tool, due to strict curricula. However, young adult literature is a perfect tool for aiding with comprehension of the classic works. Pairing certain young adult books with classics would help adolescents understand the classic novel, but also assist in intriguing the student enough to pick up both books. After an online survey given to nine Seminole County school English or Reading teachers, I found that high school teachers today do feel as though young adult literature would benefit the students greatly.

T. S. Eliot and Ezra Pound are two of the most prominent figures of Anglo-American modernist poetry, both having played central roles in the development of a distinct poetic style and atmosphere in the early 20th century by means of their publishing and editing the work of other poets as well as publishing their own poetry. However, Eliot and Pound have an interest in the classical world that is not clearly shared with the majority of other modernist poets, and this interest distinguishes the sense of "modernism" that Eliot and Pound promoted from that of other major modernists like William Carlos Williams. The general notion of modernism representing a radical break from tradition is, in the works of Eliot and Pound, not at all obvious despite the two poets' shared status at the forefront of Anglo-American modernist poetry. This thesis explores the aesthetic theories that Eliot and Pound describe in their prose works and compares them with the aesthetic theories of other modernist poets to illustrate how Eliot and Pound appreciate the past, and in particular the classical world, in ways that other modernists simply do not.

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<p>This thesis offers a consideration of Ovid’s portrayal of Medea - in <em>Heroides</em> 6 and 12, <em>Metamorphoses</em> 7, and in <em>Tristia</em> 3.9. Although several scholars have examined the myth as Ovid presents it, no one has yet offered a literary appreciation of Ovid’s various accounts of the myth – one that examines his use of characterization, humour, audience response, and one that treats his Medea as a consistent, albeit complex, character.</p> <p>The first chapter focuses on the sources for Ovid’s Medea, the ways he makes changes and, as far as we can tell, innovations to his predecessors. The second begins with a general introduction to the <em>Heroides</em>, followed by a close reading of <em>Heroides</em> 6, showing how this letter is an oblique reference to Medea’s letter and myth, and I point out the links between the two poems, arguing that Hypsipyle’s letter must be read as a foreshadowing of Medea’s. The third chapter examines <em>Heroides </em>12 – Medea’s letter - where I concentrate on Ovid’s characterization of Medea and specifically look at elements of black humour and foreshadowing. The fourth – and longest – chapter deals with the Medea of the <em>Metamorphoses</em>, where I propose that the real metamorphosis of this story is Medea herself, who moves from the state of an innocent young girl to that of a witch, yet noting that all of the changes take place within a work that is marked by its sense of playfulness – its <em>perpetua festivitas</em> – and note Ovid’s use of wit and irony even as his characterization appears to grow dark. The fifth and final chapter deals with the Medea in Ovid’s <em>Tristia</em>, where I place the Medea of this work within the context of Ovid’s exile poetry, while showing that he is working with a complex character and is in no way contradicting himself.</p> / Doctor of Philosophy (PhD)

<p>The Phaenomena, written by Aratus of Soli in 276-274 B.C., enjoyed immense popularity in antiquity and was translated into Latin verse by Marcus Tullius Cicero, Germanicus Caesar and Rufius Festus Avienus, and into Latin prose by an anonymous author writing in the seventh century A.D. Previous studies of these works have provided important observations about individual aspects of the Latin poems and this thesis seeks to add to the understanding and appreciation of the works by comparing in detail the three verse translations and, where appropriate and possible, the prose Aratus Latinus, with the Greek original and with each other.</p> <p>The first chapter examines the problem of the popularity of the Greek Phaenomena down to the Renaissance and the second chapter investigates the nature of translation as a Roman literary phenomenon. The five chapters which follow include statistical surveys, based on both scansion of the poems and on computer-concordances compiled for the thesis, and stylistic analyses in order to elucidate the degree to which the translations were dependent upon and independent from the Greek model and the similarities and differences amcng the translations them.selves. Chapter III investigates four aspects of metre (metrical patterns, first and fourth foot, elision, and caesurae and diaereses). Chapter rv examines the quantity of sound and, in particular, initial consonantal alliteration. Chapter V contains a discussion of compound adjectives and epithets and Chapter VI, a discussion of special astronomical vocabulary (words of brightness, color terms and four special words: uis, laetus, tristis, crinis). Chapter VII investigates Greek words and Latin archaisms in the Latin translations and establishes evidence for Cicero's creation of a uniquely Latin poem through the use of Latin archaisms. The final chapter discusses further the emergence of a distinctly Roman Phaenomena, for Germanicus in the use of references to aspects of Roman life and for Avienus in the area of borrowings from the previous Latin translations of Aratus' poem. It concludes with a study of the ways in which each of the verse translators alter the emphasis of the original by reshaping its theme, thereby emphasizing the extent to which the translators went beyond their Greek model to create individual and original Latin works.</p> / Doctor of Philosophy (PhD)

This is a study of how late Republican and early Imperial authors recast different elements of episodes from the Struggle of the Orders (509-287 BCE) based on the events and circumstances of their own times and their authorial aims. The study is divided into two parts. Part I focuses on portrayals of Sp. Cassius’ third consulship in 486 BCE, when he sought to pass a lex agraria. Part II examines the treatments of Sp. Maelius’ private frumentary distributions, which purportedly occurred in 439 BCE. Both episodes seem to have been treated briefly by earlier sources; the main thread of the stories centred around Cassius’ and Maelius’ desire to acquire regnum, which led to their suppressions and deaths. Over time, the stories evolved and became more detailed. Elements were exaggerated, added, or omitted, which often spoke to what was happening during the time at which a certain author was writing. By means of a comparison of the primary sources I examine the contemporary Roman historical realities contained within our surviving narratives on the patricio-plebeian conflicts of the early period. Late Republican authors frequently recast the patrician-plebeian struggle in the context of the recent political conflicts between optimates and populares, using the political idiom of their own times to describe the Struggle of the Orders. Cassius and Maelius became embedded in the political controversy surrounding the suppression of men (reportedly) seeking kingship by the state that began with the institution of the SCU and continued long into the first century BCE. I analyze the changes that take place in the accounts of Cicero, Livy, and Dionysius of Halicarnassus, our main sources on the episodes involving Cassius and Maelius. Different authors reinterpret, emphasize, and omit various elements of the events of 486 and 439 BCE. A single author might, as is the case with Cicero, reimagine the episodes differently at different times based on his immediate aims. While the ways by which the sources reimagine elements of these episodes has led to harsh criticisms of these authors, especially Livy and Dionysius, I argue that our sources were engaging with the material at their disposal and shaping it in ways that were acceptable to ancient audiences. This historical interpretation helped the Romans to make sense of their own past and derive meaning from it, which, in turn, helped them to engage with and make sense of their present. / Thesis / Doctor of Philosophy (PhD)

Among the 123 political science programs listed by the American Political Science Association that grant Ph.D.s in political science, only seven require every student to complete some sort of political theory or philosophy course. Eighty-one offer students the opportunity to select political theory or philosophy as a concentration. Most surprising, 39 programs advertise no courses in political theory or philosophy at all. Political philosophy, at the doctoral level, is being treated as an optional option. Given these findings about the lack of political philosophy and theory at the doctoral level, the study of all things theoretical or philosophical seems to be overshadowed by other subfields of research. The not so subliminal message being sent by this sort of phenomenon is that some subfields of political science have a higher priority than others. In addition to identifying the number of political science programs that require coursework in political theory, this thesis explores the shift of the political theory offered away from traditional philosophical foundations and toward a postmodern pedagogical approach. This type of pedagogy can have the secondary effect of devaluing traditional notions of teaching and learning in favor of collaborative learning and learner centered teaching. Following the movement to reform the educational system in France after the student riots of 1968, narratives of morality were replaced by the idea that such social constructs ought to be abandoned for a focus on individualism and intertexuality. / Master of Arts

Research into the luxury debate in 18th century Sweden has focused on poetry and literature, the wording of decrees and the minutes of the Swedish riksdag. One source material largely left unexplored is the body of dissertations published by Swedish universities of the time. Not only is this an unfortunate omission as the universities were important intellectual centres, but also because they had a distinct culture, heavily influenced by Latin and the classics, in which luxury condemnations played a pivotal role. Building on the notion that ideas are best studied as arguments in debates, this master’s thesis examines twelve dissertations published in Sweden in the years 1722–1779 using models of conceptual change and argumentation analysis as theoretical approaches. The results indicate that the academic debate on luxury, through its focus on classical antiquity and conceptual definition, distinguished itself from other contemporary Swedish contributions to the debate, and that the interpretation of its characteristics must proceed from both the dissertation genre and the learned culture of university. The investigation furthermore stresses the importance of the university as a venue for reception of ideas in the latter part of the Early Modern Period and emphasises the dissertations as a central medium in this process.

Die Dissertation India Book House und die Comic-Serie Amar Chitra Katha (1970-2002) ist eine interdisziplinär angelegte Studie. Sie vermittelt Erkenntnisse über einen vernachlässigten Bereich der Mediengeschichte Indiens. Im ersten Teil wird das Modell "Kreislauf der Kultur" auf das Medienprodukt Amar Chitra Katha angewandt. Dabei werden fünf Prozesse berücksichtigt: Repräsentation, Produktion, Identität, Konsum und Regulierung. Im zweiten Teil werden ausgewählte ACK-Ausgaben aus den Kategorien Mythologie und Geschichte formal-inhaltlich analysiert und verglichen. Die jeweiligen Unterschiede in der Bearbeitungsform der ACK-Ausgaben werden auf die Erkenntnisse des ersten Teils bezogen. Dadurch konnten die arbeitsbedingten und verlagspolitischen Motive der Transformationen der ACK-Serie belegt werden.

Dans la présente thèse nous formulons une réflexion sur la traduction des classiques du théâtre à travers les trois catégories traductologiques de l’herméneutique, de l’oralité et de la temporalité. A cet effet, nous envisageons la traduction comme le résultat d’un processus herméneutique concernant l’œuvre dans sa totalité. Au centre de ce processus, nous plaçons le sujet traduisant, dont la culture individuelle – à son tour reflet et déclinaison de la culture collective de l’espace-temps cible – constitue l’horizon d’interaction avec l’œuvre source. En découle la saisie d’un Sens total, au-delà du simple sens textuel, qui inclut une inscription dans la temporalité et l’identification d’une théâtralité, tout particulièrement vocale. Posant cette construction comme hypothèse de fond, nous recherchons les marques d’une telle interprétation de l’œuvre dans l’oralité de la traduction. Nous imaginons cette dernière comme la projection d’une voix performée et la concevons comme un tissu composite dans lequel les dimensions linguistique, rythmique et vocale participent à la construction d’un discours contemporain sur l’œuvre classique, le théâtre du passé, le théâtre du présent, sur la traduction elle-même et sa relation au temps. Un corpus de traductions italiennes contemporaines de Phèdre et Dom Juan destinées à la représentation scénique constitue la pierre de touche pour la vérification de notre hypothèse, tout en apportant un éclairage sur la réception des classiques du théâtre français en Italie. / In this thesis, we focus on theatre classics and on the interaction between hermeneutics, orality and temporality. To this aim, we think of translation as the result of a hermeneutical process which goes beyond the text and includes an interpretation of the play as a whole. In this framework, the translator plays a central role as they interact with the source text through the hermeneutical horizon of their individual and collective culture, extracting a Sense which extends to the perception of a specific temporality and theatricality. Our hypothesis is that this Sense can be found in the orality of the translative writing, which we consider to be the projection of voice in performance and which we define as a combination of language, rhythm and vocality, resulting in a contemporary discourse about the classic work, about theatre – both past and present – and about translation itself, as well as about its relationship to time. A corpus of Italian translations of Phèdre and Dom Juan for the stage helps verify our hypothesis, while offering an insight into the reception of French classical theatre in Italy.