A presente pesquisa teve como objetivo o estudo da Vita Nova de Dante Alighieri, onde o Amor, as musas e outros personagens surgem da mitologia grega. Esse Amor pagão é cristianizado por Dante, que o transforma na figura de Deus. Beatriz passa a ser a Musa de Dante, que é chamada pelo poeta primeiro de gentilissima, depois donna angelo, santa, filósofa e teóloga. No Convívio, pode-se constatar a aproximação de sua deusa à sabedoria filosófica e teológica. Tudo isso se passa pela elaboração da poesia, bem como a Divina Comédia, que são, segundo o autor, alegorias. Foram feitas algumas incursões na Divina Comédia para confirmar tais configurações entrou-se em trechos do Purgatório e do Paraíso. / The purpose of this research was to study Dante Alighieri\'s Vita Nova, where Love, muses, and other characters emerge from the Greek mythology. This pagan love is christianized by Dante, who transforms it into the figure of God. Beatrice becomes Dante\'s muse, who is initially called by him as very gentle lady, then as donna angelo (woman-angel), saint, philosopher and theologian. In Convivio, an approach between his goddess and a philosophical and theological wisdom can be observed. Convivio, as well as The Divine Comedy, are written in poetry and are both, according to the author, allegories.

Pontiggia commenta – ed è la prima volta nella storia degli studi pavesiani – tutti i ventisette Dialoghi con Leucò di Cesare Pavese. La scelta di leggere i dialoghi non secondo l’indice predisposto dall’autore per la pubblicazione, ma secondo l’ordine cronologico di composizione, è dettata dall’esigenza di scendere più a fondo nell’officina pavesiana, al fine di cogliere i nessi fantastici e tematici che legano i singoli dialoghi. L’indagine rivela il rapporto – di libertà e di fedeltà insieme – che Pavese intrattiene con le sue fonti, sia classiche (soprattutto greche: Omero, Esiodo, i tragici) sia moderne (gli studi etnologici e antropologici del Pestalozza, di Untersteiner, di Kerényi, di Paula Philippson). La forma-dialogo – modellata con originalità sui Dialoghi di Luciano e sulle Operette morali di Leopardi – consente all’autore di fondere uno sguardo intensamente lirico con una tensione lucidamente argomentativa, la dimensione tragica dell’esistenza con la potenza mitopoietica della parola. Nell’infelicità universale, la poesia conserva una sua forza vitale, che riscatta – almeno parzialmente – il destino di morte e di sofferenza riservato agli esseri umani: forse è questo l’aspetto più autenticamente classico di un libro sempre in bilico tra le forze della disgregazione e dell’armonia, della lucidità e dell’inganno, del terrestre e del divino. / Pontiggia analyzes all twenty-seven Dialogues with Leucò — a first in the history on Pavese studies. The choice of reading the dialogues not according to the index prepared for publication by the author, but following the chronological order of their composition is dictated by the need to delve more profoundly into Pavese’s work in order to capture the fantastic and thematic relationships linking the single dialogues. This research reveals the relationship — of both freedom and fidelity — that Pavese entertains with his sources, both classical (especially Greek: Homer, Hesiod, the tragedians) and modern (the ethnological and anthropological studies of Pestalozza, Untersteiner, Kerényi, and Paula Philippson). The dialogue form — modeled with great originality on Lucian's Dialogues and on Leopardi’s Operette morali — allows the author to merge an intensely lyrical look with a lucidly argumentative tension, the tragic dimension of existence with the mythopoietic power of the word. In the universal unhappiness, poetry retains its vital force, which redeems, at least partially, the destiny of death and suffering reserved for human beings: this is perhaps the most authentically classical aspect of a book always hanging in the balance between the forces of disintegration and harmony, of clarity and deception, of the earthly and the divine.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire s’intéresse à la citation d’œuvres romantiques par le groupe rock britannique Muse, à partir d’une dizaine de chansons représentatives de son style. Bien qu’il ne soit pas rare qu’un groupe rock se base sur une œuvre antérieure pour écrire une nouvelle chanson, Muse constitue un cas particulier puisqu’il fait très peu usage de citations littérales. Cette étude s’inspire principalement des théories de Gérard Genette et de James Peter Burkholder et classe les emprunts en diverses catégories, dont l’allusion, la paraphrase, la citation programmatique, l’arrangement cumulatif et le modelage. Dans ce dernier cas, Muse assimile l’emprunt pour communiquer une coloration romantique à sa musique, à la manière d’un pastiche. Au moins cinq chansons du groupe évoquent le Deuxième Concerto pour piano de Rachmaninov, soit « Megalomania », « Ruled by Secrecy », « Space Dementia », « Butterflies and Hurricanes » et le prélude instrumental de « Survival ». Ce mémoire analyse aussi l’allusion au Premier Concerto pour piano de Tchaïkovski dans « Hoodoo », la paraphrase du thème de l’idée fixe de la Symphonie fantastique de Berlioz dans « Glorious » et la citation de l’opéra Samson et Dalila de Saint-Saëns dans « I Belong to You ». Ce procédé a un impact sur la réception des chansons. Ainsi, la coda de la chanson « United States of Eurasia » cherche à décrire l’état d’innocence menacé par la guerre en combinant des rires d’enfants au Nocturne op. 9 no 2 de Chopin, évoquant la nostalgie d’une époque révolue. / This thesis looks at the citation of Romantic works by the British rock group Muse, based on about ten songs representative of its style. While it is not uncommon for a rock band to use a previous work to write a new song, Muse constitutes a particular case since it makes very little use of literal citation. This study is based primarily on the theories of Gérard Genette and James Peter Burkholder and classifies the borrowings in various categories, including allusion, paraphrase, programmatic citation, cumulative arrangement and modeling. For example, with modeling, Muse assimilates the borrowing in order to communicate a Romantic dimension in its music, similar to a pastiche. At least five songs of the band evoke Rachmaninov’s Piano Concerto no. 2 : “Megalomania”, “Ruled by Secrecy”, “Space Dementia”, “Butterflies and Hurricanes” and the instrumental prelude to “Survival”. This thesis also analyses the allusion to Tchaïkovski’s Piano Concerto no. 1 in “Hoodoo”, the paraphrase of the idée fixe from Berlioz’s Symphonie fantastique in “Glorious” and the citation of Saint-Saëns’ opera Samson and Delilah in “I Belong to You”. This technique has an impact on the songs’ reception. For example, the coda of the song “United States of Eurasia” seeks to describe the state of innocence threatened by war, by combining children’s laughter with Chopin’s Nocturne op. 9 no 2, thus evoking nostalgia of a bygone era.

Lyman continuum (LyC) photons are known to be responsible for reionising the universe after the end of the Dark Ages, which marked a period called the Epoch of Reionisation (EoR). While these high-energy photons are thought to predominantly originate from young, hot, massive stars within the earliest galaxies, and contributions from high-energy sources like quasars and AGN, the origins of these photons are yet not well known and highly debated. Detecting LyC photons from the early galaxies near the EoR is not possible as they get completely absorbed by the intergalactic medium (IGM) on their way to us, which has prompted the development of various indirect diagnostics to study the amount of LyC photons contributed by such galaxies by studying their analogues at low redshifts. In this study, we probe the ionised interstellar medium (ISM) of seven Green Pea galaxies through spatially resolved[O III] λ5007/[O II] λ3727 (O32) and [O III] λ5007/Hα λ6562 (O3Hα) emission-line ratio maps, using data from the Multi Unit Spectroscopic Explorer (MUSE) onboard the Very large telescope (VLT). Out of the two ratios, the former has proven to be a successful diagnostic in predicting Lyman continuum emitters (LCEs). Along with the line ratio maps, the surface brightness profiles of the galaxies are also studied to examine the spatial distribution of the emission lines and the regions from which they originate. The resulting maps indicate whether the ISM of the galaxies is ionization-bounded or density-bounded. Our analysis reveals that a subset of the galaxies with ionization-bounded ISM exhibits pronounced ionisation channels in the outer regions. These channels are potential pathways through which Lyman continuum photons may escape. For density-bounded ISM, the ionised ISM extends well beyond the stellar regions into the halos of the galaxies, highlighting their potential contribution to the ionising photon budget during the EoR. The findings emphasise the importance of spatially resolved ISM studies in understanding the mechanisms facilitating the escape of LyC photons.

Filozofická fakulta Univerzity Karlovy v Praze DISSERTATION ABSTRACT Daniela Theinová LIMITS AND LANGUAGES in Contemporary Irish Women's Poetry "Irish poetry" is an inherently equivocal concept characterized by two fissures, one linguistic (Irish-English; standard English-Hiberno English) and the other chronological (oral-written; Old Irish-modern Irish). Central to my project is to show how this bifurcate cultural identity, prominent in Irish literature due to Ireland's history and the politicized concept of "national language," figures in poetry by Irish women of the last forty years. While I account for the significance of the hyphen in Anglo-Irish as well as in Gaelic-Irish poets, contradictory tensions are traced not only across and along the linguistic divide. In attending to the shift from feminism (Eavan Boland, Eiléan Ní Chuilleanáin, Paula Meehan, Medbh McGuckian, and Nuala Ní Dhomhnaill) to post-feminism in Irish poetry (Biddy Jenkinson, Vona Groarke, Caitríona O'Reilly, and Aifric Mac Aodha), I illustrate the role that the border between English and Irish has played in these processes. The dissertation falls into two parts each of which consists of two chapters. Part One explores some of the ways in which poets have confronted the inherited tradition and the feminine stereotypes therein. My...