Konstanz, Univ., Diss., 2002.

Konstanz, Universiẗat, Diss., 2002. / Dateiformat: tgz, Dateien im PDF-Format.

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Stefanie Reinhold befasst sich in ihrem Kalenderartikel mit der Geschichte des Judith-Lucretia-Portal, welches sich heute am Turm des Chemnitzer Rathauses befindet. Neben der Baugeschichte berührt sie dabei auch den zugrunde liegenden antiken Mythos.

Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1999. / Title from electronic submission form. Vita. Abstract. Includes bibliographical references.

Stefanie Reinhold befasst sich in ihrem Kalenderartikel mit der Geschichte des Judith-Lucretia-Portal, welches sich heute am Turm des Chemnitzer Rathauses befindet. Neben der Baugeschichte berührt sie dabei auch den zugrunde liegenden antiken Mythos.

The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.

This thesis examines the relationship between speech and action in Dionysius' Antiquitates Romanae. It consists of five main chapters, an introduction and a conclusion. In the introduction I establish the status quaestionis and consider different modes of presenting discourse. Chapter 2 is an intertextual analysis of Dionysius' first preface, AR I.1-8, exploring Dionysius' engagement with his Greek and Roman predecessors. I take one modern theory, concerning Dionysius apparent 'idealisation' of the Roman past, in order to examine the relationship between the Antiquities and Dionysius' rhetorical works. In the four chapters that follow, I trace the changing texture of narrative across the Antiquities, sinking shafts at moments to examine closely what is going on. First (ch. 3), I analyse speech in the Regal Period, focusing on the story of Lucretia and Brutus (AR IV.64-85), and the way that Herodotean allusion meshes with intratextual devices to narrate the fluctuations of the Regal Period. Chapter 4 is a paired reading of (4a) the story of Coriolanus' trial (VII.21-66) and (4b) the story of Coriolanus' encounter with his mother (VII.39-62). Ch. 4a concentrates on Thucydides and Isocrates, and how Coriolanus' trial binds the Greek literary past to the first-century Roman present. In 4b, I examine how Dionysius manages the shift between high politics and family relationships. Chapter 5, on the decemvirate (X.50-XI.44), explores again Roman tyranny, this time in a Republican frame; the power of the senate is consequently in point here. Chapter 6, on AR XIV-XX, probes the questions of Greek and Roman ethnicity and the individual which had arisen in the earlier chapters. In the conclusion I consider the precise question of Dionysius' Augustanism, relating it to Dionysius' apparent status in Rome.

Benjamin Britten is one of the foremost contemporary English composers. He has successfully revived English opera, dead since Purcell, and this is one of his most significant contributions to the contemporary music world. Therefore, the purpose of this document is to give the reader some insight into Britten' s operatic style. The first chapter contains a sketch of Britten's life with particular reference to his operas, along with general characteristics of his writing. The following chapter has been devoted to a closer consideration of four of his2 operas: Peter Grimes, ;Theof. Lueretia, Albert Herring, and Gloriana. Since an analysis of entire operas would exceed the limitations of this paper, the soprano role has been selected as representative of Britten's operatic style. The vocal score of Turn of the Screw was not available for this study, and his other operas do not contain soprano roles. With each analysis a brief synopsis of the plot is included as a background for the musical analysis. Following the plot is a general treatment of the outstanding style features of the role. In order to present another facet of Britten's writing, the specific analysis of each soprano role is handled from a thematic standpoint. That is, the role is scrutinized for important recurring motives, the significance of these motives is noted, and examination made of their relationship to the opera as a. whole. Reti's Thematic Process in Mlusic has proved an invaluable guide to this type of analysis.