Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 257-269).

Inaug.-Diss. - Bern. / "Literatur": p. 12-14.

This thesis is a design for Puccini's opera, La Boheme, which I have set in the 1890’s instead of the l830's in which Puccini originally set it. The main reason for this period change is based on the fact that the music, the spirit, and the characters themselves, seem to fit naturally and appropriately into the glitter, the charm, and the artistic mood of the "gay nineties". I have set the opera on the Metropolitan Opera House stage, and have included-photographs of the half-inch scale model constructed for this purpose. The actual settings are simple, suggesting only the basic architectural necessities, in order to allow the background - a system of projection screens and mirrors, to predominate and filter through the action constantly. In designing the costumes, I have adhered closely to the silhouette of the 1890's, exaggerating, simplifying, or emphasizing particular elements in order to heighten their dramatic effect. I have assigned specific, restricted colour schemes to the characters which I considered appropriate and in character. Although I did not rely entirely on artistic works, the majority of the research into the period is centred around the paintings of Toulouse-Lautrec, Degas, and Utrillo, as well as the lithographs and posters of Lautrec, Cheret, and other turn-of-the-century artists. The thesis also includes technical drawings and a lighting layout, section, and instrument schedule. Generally speaking, charm, simplicity, and a romantic mood, are the qualities for which I strove in the design of the opera. / Arts, Faculty of / Theatre and Film, Department of / Graduate

The main aim of the study was to examine and discover the use of the clarinets and bass clarinet, in combination with other instruments, to portray the libretto in Puccini's opera Tosca. • scrutiny of the literature about Puccini's life and works, • an analysis of the score with emphasis on the clarinets', bass clarinet's and singers' parts and specific attention to the demands of the libretto, and • listening to a number of recordings of the opera A variety of different aspects are organized in the following chapters: Chapter 1 consists of general information about the study. Chapter 2 offers a short biography, while Chapter 3 provides a discussion about the libretto. In Chapter 4 the author deals with tonguing and articulation. Chapter 5 examines melodic aspects and Chapter 6 consists of views on dynamic aspects. In Chapter 7 a discussion about rhythmic aspects takes place, and in Chapter 8 the author explores the combination of the clarinets and bass clarinet with other instruments. Finally, Chapter 9 is a summary of the conclusions drawn in this study. • Puccini's predilection for continuous mixing of instrumental colours sometimes makes it difficult to separate the clarinet for analytical purposes. Nevertheless, the importance of the use of the clarinets or bass clarinet can clearly be detected. • Puccini employs all creative and technical capabilities of the clarinet and bass clarinet in creating and changing the atmosphere, depicting human emotions and emphasizing dramatic moments. • Carefully chosen and applied articulation, trills, tremolos and repeated notes in the clarinet and bass clarinet parts are Puccini's gestures in the expression of love, anger and fear. However, articulation in the clarinet and bass clarinet parts mainly matches the other instrumental lines in the orchestra. • Because the clarinet and bass clarinet blend well with any instrument and with the human voice, Puccini uses them in solo parts, in unison with the singer, or as an accompaniment to the singer's line. • As a consequence of Puccini's need to consciously pay minute attention to the details of the libretto, the structure, shape and length of the clarinet phrases constantly change. • Exploring the dynamic's capabilities of the clarinets and bass clarinet presents the wide palette of colours and nuances which these instruments can produce. Puccini uses a large number of dynamic markings in the clarinet and bass clarinet parts. They range between ppp and fff. The piano dynamic level is mainly used to suggest fear and suspicion or to portray lyrical moments in the libretto, while the forte level is a tool to create drama and express human anger, pain, or the struggle between good and bad. • Puccini puts very strong emphasis on rhythm as a device for illuminating the details of the libretto, stage actions, human feelings, and different atmospheres in the opera Tosca. The different rhythmical patterns and changes of metre affect all instruments. Sometimes the clarinet line has the same rhythmical figures as the rest of the woodwind, but very often the clarinet plays a different rhythm from the rest of the orchestra or the singer's melody. / Dissertation (M Mus (Performing Art))--University of Pretoria, 2007. / Music / unrestricted

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Giacomo Meyerbeer (September 5, 1791-May 2, 1864) was one of the most celebrated composers in the 19th century and the leading exponent of French grand opera. Meyerbeer's operas were immensely popular; for example, his opera Robert le diable was performed 100 times in Paris alone and was featured on the programs of 77 theatres in ten countries, all within three years of its première. Meyerbeer's collaboration with Eugène Scribe, who was the most famous librettist of the century, began with Robert le diable (1831) and their partnership continued for the creation of Les Huguenots (1836), Le prophète (1849), and L'Africaine (1865). Meyerbeer's larger-than-life operas defined the genre of French grand opera. Meyerbeer was a serious, dedicated composer who composed mostly for the stage, but he also wrote sacred music, choral music, instrumental music, and songs. Meyerbeer composed over 50 songs, mostly mélodies and lieder that were translated and published in both German and French. He also composed some Italian canzonette. Meyerbeer's songs are rarely performed in recitals, however, they have originality, beauty, intensity, and theatricality and are worthy to be explored, performed, and cherished. His operas featured unconventional and sensational scenes, tragic love stories set in the middle of the whirlwind of political and religious clash, and bigger-than-life sets to transport his audience to exotic, faraway places. Did Meyerbeer lend the same magical touch to his songs? Was he able to create the same story line of epic portion as he did in his grand operas? My goal is to provide an introduction to the Meyerbeer song repertoire which as a result will encourage more voice teachers, students, and professional performers to incorporate Meyerbeer's outstanding, yet rarely performed songs into their recital programs. In the charts, Meyerbeer's songs are organized by three language groups: Italian, French, and German, and are organized alphabetically by title within each language group. Each chart has eight columns: number; song title; lyricist; year of composition; range; additional available singing translations; difficulty level; and comments. Six songs in total, with two songs from each language group, are chosen and analyzed to explore Meyerbeer’s songs in depth. The selected songs are from various points of Meyerbeer’s career, and are of different levels of difficulties, topics, lengths, and moods. / Music Performance

Le français en tant que système linguistico-culturel et, de manière privilégiée, dans sa codification philosophico-littéraire en tant qu’ensemble de modules, de genres et de textes, a eu un rôle central dans la pensée et dans l’oeuvre de Leopardi et cela depuis ses premières années de formation philosophico-littéraire jusqu'à la fin de sa production. Il s’agit en effet de la seule langue moderne – c’est-à-dire l’unique ressource réellement disponible pour cet échangepassage interlinguistique de tra[ns]duction qui a agi de manière vraiment significative dans l'élaboration et la production de cet auteur. Il s’identifiait en effet dans les termes de l’autre langue. Ainsi, tout en conservant son effet double et ambivalent dans un rapport qui se révèle riche et raffiné sur le plan de la création, polémique et conflictuel sur le plan de l'activité théorique, marque en particulier dans les pages du Zibaldone mais aussi dans d'autres textes, la réflexion théorique autour des langues et de la traduction ainsi que de nombreuses notes lexicologiques et de linguistique contrastive et surtout de l'écriture épistolaire, d'essais et de poésie. Dans ce contexte, la première partie de cette thèse explore d’un point de vue de la traduction, l’utilisation du français par Leopardi dans ses différentes formes d’écriture où la création linguistique et la genèse du texte littéraire se constituent dans le terrain de l’entre-deux des langues analogues. Au contraire, la deuxième partie met l'accent sur le rapport entre les formes brèves, l’écriture poétique et la pratique de la réécriture d’une langue à l’autre, dans la traduction-remaniement de la fable poétique La Feuille de A.-V. Arnault, mise par le poète de Recanati à la fin son livre les Canti dans sa dernière organisation de 1835. / French - meant as a cultural and linguistic whole with a unique philosophical-literary coding structured in ensemble of forms, genres and texts – has a crucial role in the thought and in the works of Giacomo Leopardi, from the beginning of his philosophical and literary education to his very late writings. It is, indeed, the only modern language - i.e. the only available resource for the interlinguistic exchange in the translation-transaction - which acted significantly in the author’s elaboration and production, emerging as the other language par excellence. Its ambivalent role both in writing, where French is used in a fruitful and refined way, and in theory, where it is faced to a polemical and critical approach, is evident throughout the Zibaldone, in author’s theoretical considerations about languages and translation, in many notes about lexicology and contrastive linguistic as well as in literary forms varying from the assay to the poem or the letter. In this context, the first section of this thesis explores, from a translatological point of view, Leopardi’s use of French in those various forms of writings where the linguistic invention and the genesis of literary texts themselves set up in the field of the entre-deux between similar languages. The second section, instead, focuses on the relation among short forms, poetic writing and the practice of the re-writing from a language to another, in the translation-remake of A.V. Arnault’s La Feuille, the tale in form of a poem, that Leopardi put at the end of the Canti, in its very last structure published in 1835.

Univerzita Karlova Filozofická fakulta Ústav románských studií Románské literatury Abstract Mgr. Angela Alexandra DʹOrso IMMAGINAZIONE, LINGUA, CORPO: la geografia della voce nell'opera di Giacomo Leopardi IMAGINACE, JAZYK, TĚLO: místopis hlasu v díle Giacoma Leopardiho IMAGINATION, LANGUAGE, BODY: the path of the voice in Leopardi's literary work Školitelka: PhDr. Alice Flemrová, Ph.D. 2021 This thesis deals with orality in Giacomo Leopardi's literary work. The study focuses on the connection between Teoria del piacere and orality. Orality is an important subject in Leopardi's mindset; the author reproduces the effect of orality in writing by using a specific linguistic style, special phonetic elements and syntactic structure typically used in spoken language. Prose and poetry therefore contain examples of spoken language which help to explain the centrality of reflection about orality in Leopardi's poetics and philosophy. This reflection is also present in Canti as a poetic motif involving two elements: voice and silence. The study shows Leopardi's constant tension towards a primitive universe, whose orality is a trace. The research therefore intercepts Leopardi's sensitivity about nature, a dimension in which body is central and a more immediate and spontaneous contact with life exists. The category of...

Cette thèse se propose d'étudier l'interaction existant entre connaissance de soi, des autres et du monde dans l'Histoire de ma vie de Casanova. Souvent considérée comme un immense « tableau de mœurs » de la société du dix-huitième siècle, on a pourtant peu évalué ses dimensions historiques, sociologiques et philosophiques. Or, elle constitue une étape intéressante dans l'histoire littéraire, tout en occupant une place à part : en effet, le Vénitien n'est ni un moraliste au sens classique du terme, ni un théoricien des mœurs comme Voltaire. Son œuvre parvient pourtant peut-être mieux que ces deux modèles à rendre compte de la complexité du réel, et ce grâce à une « science des mœurs » (telle qu'elle a par exemple été théorisée par Charles Duclos dans ses Considérations sur les mœurs de ce siècle) qu'il expérimente non seulement sur lui-même, mais aussi sur autrui. Casanova entretient néanmoins l'ambiguïté sur ses intentions : faut-il prendre au sérieux cet « instituteur de morale » qui prétend livrer à ses lecteurs un « miroir magique » pour qu'ils puissent s'y mirer et, éventuellement, se corriger ? Il convient d'examiner comment se crée cet ethos de l'instituteur dans les écrits philosophiques critiques de Casanova (l'Essai de critique sur les sciences, sur les mœurs et sur les arts, notamment) et dans quelle mesure cette construction de soi peut s'appliquer à l'Histoire de ma vie. Ceci nous amène à un troisième niveau d'analyse : celui qui met en jeu les interactions entre les fictions de soi (et, au premier chef, les modèles romanesques) auxquelles Casanova fait appel pour rendre compte de la réalité dans ses Mémoires et la théorisation qu'il fait de sa propre expérience. / This thesis surveys the connexion between three formes of knowledge: of self, of others and of the world in Casanova's Histoire de ma vie. Often regarded as a great “picture of manners” of 18th century society, its historical, sociological and philosophical dimensions have been slightly appraised, though. Nevertheless, his autobiographical work stands as an remarkable moment in the history of litterature, and in the same time merits a place of his own, for the Venitian is neither a moralist in the classical sense of the word, nor a theorist of manners such as Voltaire. However, he is maybe more gifted than these two models to give account of the complexity of real, thanks to a “science of manners” (as it had been theorized, for instance, by Charles Duclos in his Considérations sur les moeurs de ce siècle) that he implements not only in himself, but also in his fellow men. Nevertheless, Casanova remains unclear about his intentions: should we take seriously this “moral teacher” who wishes to offer his readers a “magical mirror” so they would gaze at -and eventually even correct- themselves? It is worth considering how this ethos of the teacher arises in the philosophical writings of Casanova (most of all, the Essai de critique sur les sciences, sur les moeurs et sur les arts) and in what degree this construction of self can be applied to Histoire de ma vie. This leads us to a third level of analysis: the connexion existing between the fictions of self used by Casanova (first of all, models out of novels) to give account of reality in his Mémoires and his theorisation of his own life.

L’invention du mythe casanovien se fonde sur l’occultation de l’écrivain : elle entre en contradiction avec une ambition poursuivie pendant plusieurs décennies par le Vénitien, à la faveur d’une œuvre polygraphique. Dans un siècle où la condition des « gens de lettres » subit des transformations cruciales, Casanova échappe pour l’essentiel aux instances de légitimation. L’échec de la reconnaissance n’est pas étranger aux contradictions dont il investit la figure de l’écrivain. Cette étude interroge plus spécifiquement son rapport à la notion d’auteur, envisagée sous les deux pôles de l’auctorialité et de l’autorité. Entre « refus des conséquences » et « inconséquence », l’auteur s’élabore sous sa plume comme une instance labile et fuyante. Nous nous sommes intéressée aux logiques permettant de rendre compte de cette instabilité. Les habitudes de lecteur de Casanova comme ses pratiques d’écriture révèlent en outre un écrivain travaillé par une conception stratégique de la littérature. Nous avons cherché à explorer ces stratégies d’écriture et à en mesurer les effets dans le corpus philosophique et autobiographique. À sa manière, depuis la marge, Casanova est un miroir des paradoxes et des ambiguïtés de son temps : son œuvre offre un point de vue singulier sur l’évolution des sensibilités et des esthétiques, ainsi que sur les bouleversements qui affectent, au cours du siècle, le statut des écrivains, leurs relations avec les autorités ou avec le public. / The invention of the Casanovian myth is based on the writer's occultation. It contradicts an ambition pursued for several decades by the Venetian. In a time when the condition of the “man of letters” is undergoing crucial transformations, Casanova’s successive attempts to achieve recognition in various literary genres were not successful. This study more specifically questions his relationship with the notion of author, considered under the two poles of auctoriality and authority. Between the "refusal of consequences" and "inconsistency", the author appears, in Casanova’s works, as a labile and evasive instance. The instability of his positions is linked to tactical constraints and epistemological biases, but also to a playful and theatrical conception of existence. Casanova's reading habits and writing practices reveal a writer haunted by a strategic conception of literature. The study focuses on these writing strategies, both in the philosophical and autobiographical works, and aims to understand their effects. Long marginalized, Casanova's work offers nevertheless a unique perspective on the evolution of sensibilities and aesthetics over the century, as well as on the upheavals that affect the status of writers, their relationship with the authorities or with the "public".