This thesis analyses the relationship between Marcus Porcius Cato Censorius and his eldest son, Marcus Porcius Cato Licinianus, considering its importance for Cato's public image and political career, investigating its place within some of the central cultural debates of the 2nd century BC, and looking at the impact which this relationship had upon received impressions of Cato the Censor as presented by later Latin authors. This is done primarily through the examination of the written works which Cato addressed to Licinianus, the extant fragments of which are presented here, with a translation and commentary, in the first modern edition to treat these texts as a unified project. The subsequent sections of this thesis set the works which Cato addressed to his son within the context of the general cultural debate and individual political competition which engaged Rome's ruling elite during this period; Cato's adoption of a paternal persona within these works is related to the character's popular appeal in the military sphere and on the comic stage; and the didactic pose and agricultural instruction featured in these texts is used to illuminate some of the challenges posed to Cato's successful performance of his duties as censor. A final section considers the reappropriation of Cato's relationship with his son as found in the De officiis of Cicero, the Institutio oratoria of Quintilian, and the anonymous Disticha Catonis. This thesis suggests that the Censor's relationship with his son, and the works which he addressed to the young man, played a more significant part in Cato's public image and political career than has hitherto been acknowledged. These texts illuminate some of the finer points of Cato's clever political strategy and they offer fresh insight into the popular culture and elite competition of the period in which he lived. The relative importance of this relationship within Cato's public life helps to explain the popularity of later images of the Censor as a paternal and educational figure and offers us a better understanding of modern conceptions of Cato.

《隋書》及《北史》皆云南北朝經學「章句好尚，互有不同」，又述南北異同云：「江左《周易》則王輔嗣，《尚書》則孔安國，《左傳》則杜元凱。河、洛《左傳》則服子慎，《尚書》、《周易》則鄭康成。《詩》則並主於毛公，《禮》則同遵於鄭氏。」歷來論南北經學流派者，莫不以此文為據。學者或以為南北經學之好尚，《隋書》、《北史》「數言盡之」（皮錫瑞語），即謂同則趨同，異則迥異，涇渭分明。亦有學者不作絶對之論，稱南朝不無宗鄭玄者，北朝猶有習偽孔者。持此論者之所據，多為南北各朝史傳、《經典釋文》、《隋書》所載南北諸經立學、門戶承傳之概況，惟史料零碎，且個別細節語焉不詳。同時，學界不乏以輯本南北朝經學佚書鑽研經學史者，惜輯本內容佔原書幾何，不甚明確，貿然藉此立論，恐失之武斷。 / 目前，藉南北朝傳世文獻研究時人對諸經注解之好尚，暫未一見，本文以為研治南北經學好尚問題，當可在此着墨。南北朝傳世古注之具名引用諸經注解者，有南人裴松之《三國志注》、裴駰《史記集解》、劉孝標《世說新語注》、皇侃《論語義疏》，以及北人酈道元《水經注》五種。鑑於南北對於《周易》、《尚書》、《左傳》、《論語》四經注解之好尚差異最大，故本文旨在考覈上述傳世古注所引四經注解，以探求前列南北注家五人對經注之好尚，從而疏理南北朝南北經學之沿革，以為經學史研究開一嶄新門徑。 / 本文共分八章。第一章回顧南北朝南北經學好尚之研究步伐，並提出藉用南北朝傳世古注所引諸經注解為探討此問題之新方向。第二章略述南北朝傳世古注引諸經注解之特色，以鉤其引書之概念。第三至第六章，則逐一考索南北朝傳世古注所引《周易》、《尚書》、《春秋左傳》、《論語》四經注解，並議論南北經學沿革相關問題。第七章專講徐彥《春秋公羊傳疏》。徐《疏》舊題唐代，惟清代以降，學者或以為北朝之書，又或以為其書並非一時之作，而終成於唐，各具實據。無論如何，本文不排除徐《疏》包羅北朝經解成分，故設專章考述其引用以上四經注解之情況，以為餘論。卒章總結全文。 / According to Suishu隋書 and Beishi北史, the Southern and Northern Dynasties favored respectively different interpretations of the Confucian Classics (jing經). Taking Shangshu尚書 as an example, Zheng Xuan鄭玄’s annotation was preferred in the North, whereas the annotation with its authorship assigned to Kong An’guo孔安國 was preferred in the South. To study the divisions of jingxue經學 during the Southern and Northern Dynasties, reviewers have constantly regarded the above statement as a foundation. Some of them, such as Pi Xirui皮錫瑞, believed that Suishu and Beishi had precisely concluded the trend of orthodoxy, as coherent comments on jingxue can be observed respectively within the Southern and Northern Dynasties. However certain counterexamples exist, for instance, Zheng’s commentary was adopted in the South, whereas Kong’s annotation was also studied in the North. Dissenters’ arguments mainly based on the official history of the South and the North. Alternative sources include Jingdian Shiwen經典釋文, Suishu and the recovered texts (jiyishu輯佚書) of the related period, with the latter being piecemeal and incomprehensive. Nevertheless, few studies have succeeded investigating the interpretations of jing at that time with the aid of the transmitted notes (zhu注) of the Southern and Northern Dynasties, namely Sanguozhi Zhu三國志注, Shiji Jijie史記集解, Shishuo Xinyu Zhu世說新語注, Lunyü Yishu論語義疏 and Shuijing Zhu水經注, which serves as alternative corpora. Through a close examination of the notes’ citation, this thesis aims at investigating coexisting evaluations towards various notes of jing, as well as articulating jingxue’s development throughout that period. / This thesis comprises eight chapters. The first chapter reviews past studies and the inadequacy therein, declaring the transmitted notes of the Southern and Northern Dynasties as an alternative source for research. Chapter Two summarizes the rules of the citations of commentaries on Classics found in the transmitted notes above. Details for those of Zhouyi周易, Shangshu, Zuozhuan左傳 and Lunyü論語 are presented with analysis in the next four chapters respectively. Chapter Seven looks into the commentaries on the four Classics cited in Chunqiu Gongyangzhuan Shu春秋公羊傳疏, which to a certain extent shows the scholars’ preferences in the North due to the multiplicity of authorship. The final chapter serves as a conclusion. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 伍尚俊. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 290-308). / Abstract in Chinese and English. / Wu Shangjun. / 凡例 --- p.1 / Chapter 第一章 --- 南北朝經學好尚研究之回顧暨新方向之提出 --- p.5 / Chapter 第一節 --- 目前南北朝經學好尚相關研究成果述要 --- p.5 / Chapter 第二節 --- 概說南北經學好尚研究之新方向──南北朝傳世古注引諸經注解 --- p.7 / Chapter 第二章 --- 南北朝傳世古注引諸經注解之特色述略 --- p.14 / Chapter 第一節 --- 裴松之《三國志注》引諸經注解之特色 --- p.14 / Chapter 第二節 --- 裴駰《史記集解》引諸經注解之特色 --- p.14 / Chapter 第三節 --- 劉孝標《世說新語注》引諸經注解之特色 --- p.15 / Chapter 第四節 --- 皇侃《論語義疏》引諸經注解之特色 --- p.16 / Chapter 第五節 --- 酈道元《水經注》引諸經注解之特色 --- p.16 / Chapter 第三章 --- 南北朝傳世古注引《周易》注解考辨 --- p.22 / Chapter 第一節 --- 引言 --- p.22 / Chapter 第二節 --- 裴駰《史記集解》引《周易》注解兼採漢魏晉說考 --- p.22 / Chapter 第三節 --- 劉孝標《世說新語注》引《周易》注解獨取魏晉說考 --- p.30 / Chapter 第四節 --- 結語 --- p.33 / Chapter 第四章 --- 南北朝傳世古注引《尚書》注解考辨 --- p.37 / Chapter 第一節 --- 引言 --- p.37 / Chapter 第二節 --- 裴松之《三國志注》引《尚書》注解獨取漢說考 --- p.37 / Chapter 第三節 --- 裴駰《史記集解》引《尚書》注解兼採漢魏晉說考 --- p.47 / Chapter 第四節 --- 劉孝標《世說新語注》及皇侃《論語義疏》引《尚書》注解-分別獨取《偽孔傳》及鄭玄注叢考 --- p.103 / Chapter 第五節 --- 酈道元《水經注》引《尚書》注解兼採漢魏晉說考 --- p.110 / Chapter 第六節 --- 結語 --- p.123 / Chapter 第五章 --- 南北朝傳世古注引《春秋左傳》注解考辨 --- p.132 / Chapter 第一節 --- 引言 --- p.132 / Chapter 第二節 --- 裴松之《三國志注》引《左傳》注解兼採漢晉說考 --- p.132 / Chapter 第三節 --- 裴駰《史記集解》引《左傳》注解兼採漢魏晉說考 --- p.134 / Chapter 第四節 --- 劉孝標《世說新語注》及皇侃《論語義疏》引《左傳》注解-獨取杜預注叢考 --- p.160 / Chapter 第五節 --- 酈道元《水經注》引《左傳》注解兼採漢魏晉說考 --- p.166 / Chapter 第六節 --- 結語 --- p.180 / Chapter 第六章 --- 南北朝傳世古注引《論語》注解考辨 --- p.189 / Chapter 第一節 --- 引言 --- p.189 / Chapter 第二節 --- 裴駰《史記集解》引《論語》注解兼用何晏、江熙二家《集解》考 --- p.189 / Chapter 第三節 --- 劉孝標《世說新語注》引《論語》注解用何晏《集解》考 --- p.229 / Chapter 第四節 --- 南北朝傳世古注引漢魏晉《論語》注解好尚之異同及其原因 --- p.241 / Chapter 第五節 --- 結語 --- p.244 / Chapter 第七章 --- 徐彥《春秋公羊傳疏》引諸經注解考辨 --- p.249 / Chapter 第一節 --- 引言 --- p.249 / Chapter 第二節 --- 徐《疏》引《周易》注解獨取漢說考 --- p.250 / Chapter 第三節 --- 徐《疏》引《尚書》注解獨取漢說考 --- p.262 / Chapter 第四節 --- 徐《疏》引《春秋左傳》注解兼採漢晉說考 --- p.267 / Chapter 第五節 --- 徐《疏》引《論語》注解獨取漢說考 --- p.280 / Chapter 第六節 --- 結語 --- p.283 / 總結 --- p.287 / 參考文獻 --- p.291

Orientador: Sérgio Vicente Motta / Banca: Luiz Gonzaga Marchezan / Banca: Igor Rossoni / Banca: Maria Celeste Tommasello Ramos / Banca: Susanna Busato / Resumo: O trabalho tem como objetivo analisar as transmutações fílmicas da obra literária Primeiras estórias, de Guimarães Rosa, em suas duas versões: A terceira margem do Rio, de Nélson Pereira dos Santos (1994) e Outras estórias, de Pedro Bial, (1999). Investiga o processo de transposição do literário ao fílmico, por meio da análise dos contos, para se determinar quais os eixos de leitura que os textos literários motivaram na ordenação e construção dos roteiros fílmicos. Tendo como apoio a teoria semiótica greimasiana, foram levantados os percursos gerativos de sentido dos contos e dos filmes, demonstrando que, nos níveis mais abstratos, como o fundamental e o narrativo, a transposição de um sistema a outro preserva mais relações de conjunções, enquanto que, no nível discursivo, as disjunções resultam em obras autônomas. Nesse nível, também foram desenvolvidas reflexões e indicações de peculiaridades das linguagens no processo de transposição fílmica, ou seja, foram estabelecidas também correspondências e relações de efeitos de sentido / Abstract: The research aimed at analyzing filmic transmutations from the book Primeiras estórias, by Guimarães Rosa, to its two versions: A terceira margem do Rio (1994), by Nélson Pereira dos Santos, and Outras estórias (1999), by Pedro Bial. The process of transposition from the filmic to the literary is investigated through the analysis of the short stories, in order to determine the reading axes in the literary texts which motivated the elaboration of the screenplays. Supported by Greimasian semiotics, we surveyed the meaning generative processes in the short stories and films, showing that, in the more abstract levels, such as the fundamental and the narrative, the transposition from a system to the other maintains more relations of conjunction, while in the discoursive level, disjunctions result in autonomous works. Indications of language specificities in the filmic transposition process were also made on that level, i.e., the establishment of correspondences and relations among the meaning effects / Doutor

Lee, Tin Yan Grace. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves [106-111]). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter 1: --- Laughter and Man --- p.15 / Chapter Chapter 2: --- Laughter and Man's Obligation to Persist in Beckett's Endgame --- p.37 / Chapter Chapter 3: --- Laughter and Self-Knowledge in Pinter's The Birthday Party --- p.68 / Conclusion --- p.100

The purpose of this study is to examine, from a gender perspective, Utbildningsradions TV-program Hej Litteraturen! in the light of feminist literature studies conducted during the last twenty years. I want to examine if the feminist literature studies have had any impact on contemporary teaching material regarding the question of how much space in time is given to men versus women and which female authors are included in the literary canon. Hej Litteraturen! is a TV program produced in 2010 intended for high school teaching of literature history.    By conducting a content analysis in which I divide the study in a quantitative and a qualitative component, I have investigated how much space and time is given to female writers and how they are presented. My analysis draws on use Yvonne Hirdman’s theory of the gender system.    The result shows that the female authors get 37 percent of the total reference space and 42 percent of the time-space. The program has sought to describe male and female authors equally and gives them weight and relevance to the sections in a similar manner.     In conclusion, Hej Litteraturen! is a tutorial which embraces parts of the criticisms that have existed in historical literature review papers in general and literary history textbooks in particular. Hej Litteraturen! has worked on gender aspects of the program and by picking up contemporary authors as reference points for literary history in the present, the program contributes not only not only in renewing the literary canon, but also in balancing out the dominance of male writers in the history of literature. / Syftet med denna studie är att ur ett genusperspektiv granska Utbildningsradions programserie Hej Litteraturen! mot bakgrund av den feministiska litteraturforskning som bedrivits under de tjugo senaste åren.  Jag vill undersöka om forskningen har haft någon inverkan på ett nutida läromedel i frågan om hur mycket utrymme som ges till män respektive kvinnor och vilka kvinnor som ingår i kanon. Hej Litteraturen! är ett TV-program avsett för gymnasieskolans litteraturhistoriska undervisning och är producerat 2010. Genom att göra en innehållsanalys där jag delar upp undersökningen i en kvantitativ och en kvalitativ del, har jag undersökt vilket faktiskt utrymme i tid och omnämnanden som ges de kvinnliga författarna och hur de presenteras. I denna analys har jag använt Hirdmans teori om genussystemets två principer som utgångspunkt. Resultatet visar att de kvinnliga författarna får 37 procent av det totala omnämnandeutrymmet och 42 procent av tidsutrymmet. I programmet har man försökt beskriva manliga och kvinnliga författare likvärdigt och ger dem tyngd och relevans i avsnitten på ett likvärdigt sätt. Slutsatsen blir att Hej Litteraturen! är ett läromedel som tagit till sig delar av den kritik som funnits mot litteraturhistoriska översiktsverk i allmänhet och litteraturhistoriska läromedel i synnerhet. Man har arbetat med genusaspekter i programmet och genom att låta nutida författare medverka som referenspunkter för litteraturhistorien i samtiden, bidrar man inte bara till att förnya kanon, utan väger också upp den dominans av manliga författare som finns i litteraturhistorien.

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Latin erotic poetry is an important genre recording surviving examples of male friendship. This report argues that a specific group of poems involving the poet and his powerful friend should be identified and studied separately as a sub-genre. Drawing examples largely from Horace, Catullus and Propertius, I argue that homosocial erotic poetry exploits the same repertoire of generic conventions as erotic poetry, but reshapes some of them for different functions. To articulate the erotic emphasis and the generic concern of this report, Eve Sedgwick’s notion of “homosocial desire” (1985) is introduced. The concept of homosociality is useful in revealing how male desire in our sub-genre has an erotic tinge and functions to foster the social bond of male friendship, but precludes the homoerotic possibility. Chapter One introduces the important terms and methodology chosen for this study, while Chapters Two to Four define and describe three distinctive features of the sub-genre. Chapter Two is devoted to showing that sermo amatorius, the “love speech” often featured in romantic relationships, can be assimilable to the structure of male homosocial relations. Chapters Three and Four examine how the sub-genre reshapes the recusatio and the topos of wealth to negotiate the tension of desire between the poets and their powerful friends. Ultimately, this report argues that male homosocial desire motivates the sub-generic conventions and thereby the seemingly disparate poems constitute a coherent sub-generic classification. / text

Practically since its celebrated premiere in 1967, George Ryga's drama about urban Native Canadians, The Ecstasy of Rita Joe, has enjoyed canonical status in Canada. Yet the same three decades that have seen over 200 productions of Rita Joe have also witnessed radical transformations in the ways First Nations' peoples are represented, heard and perceived in Canada. How has a play written about Natives by a non-Native man in 1967 managed such a long production history on such contentious and unstable ground? How do identity politics influence this piece of theatre, and how does the theatre shape identity politics? As popular notions about Native identities have changed and as Native people continue to represent themselves in and put of court, and on and off the stage, this play about Native people in Canada has been performed and re-performed. But the directors, the venues, the actors, the costumes and sets, the language itself and (most significantly) the resulting characterizations have changed over the years — in subtle and rather dramatic ways. While the words and the fundamental plot of Rita Joe have remained the same, its messages about Native identity has evolved since 1967, in relation to social, political, economic, and cultural changes. Indeed, historical developments impact the particular ways an "Indian" is represented in a particular time; what makes a "real Indian" tends to shift with the political and social needs of the moment. This paper examines the way Native identity is represented in eight productions of Rita Joe mounted between 1967 and 1992, creating a production history that focuses on the relationship between representations of identity and particular moments in time and space and, ultimately, discerns a complex and symbiotic relationship between the aesthetic, creative world and the historio-political world. Perhaps most remarkably, the play stretches to accommodate diverse cultural narratives, gathering meaning from the identity politics of its particular performance place and time.

This thesis follows the interaction of "double-voicing" and "double-consciousness" in Native American literary history. It begins with surviving records from the time of colonial contact and ends with works by Leslie Marmon Silko and Thomas King, two contemporary authors of the Native American Literary Renaissance. "Double-voicing" is a common feature found in many works preserved by early anthropologists from various Native American oral traditions. However, after colonial contact this feature largely disappears from literary works written by Native American authors, when it is replaced by the societal condition "double-consciousness." With the revitalization of cultural knowledge in the mid-twentieth-century, Native authors also revitalize their rhetorical techniques in their writing and the "double-voice" feature reemerges coupled with a bicultural awareness that is carried over from "double-consciousness." / vi, 98 leaves ; 29 cm.

This thesis discusses the role of the "false Messiah" in modern Yiddish Literature. / The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe. / Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.