K. Keblys knygoje „Lietuvių literatūra svetur 1945-1967“ pažymi, kad M. Katiliškio romanas „Miškais ateina ruduo“ (1957) kartu su tokių lietuvių literatūros kūrėjų, kaip A. Barono „Mėnesiena“ (1957) ir A. Škėmos „Balta drobulė“ (1958), veikalais išsiskyrė iš 1956-1959 m. parašytų kūrinių. Pirmųjų dviejų rašytojų romanai „įpūtė“ naujų vėjų į lietuvių literatūros erdvę. Tvirtinama, kad A. Škėmos „Baltos drobulės“ įnašas buvo didžiausias, ir 1956-1959 m. laikotarpis sietinas būtent su A. Škėmos romanu „Balta drobulė“. Bet M. Katiliškis lietuvių literatūros istorijoje išsiskiria šiuo savo romanu iš kitų rašytojų gretų dėl jame tvyrančios drąsios erotikos sklaidos. Šio darbo tema – Erotikos sklaida M. Katiliškio romane „Miškais ateina ruduo“. Temos pasirinkimą lėmė noras atskleisti lietuvių kūrėjo ir jo amžininkų požiūrį į erotiką, pažvelgti, kaip kiekvienas jų suvokė ir vaizdavo, atrodo, lietuvių tautai nepriimtinus (tabu), tačiau aktualius dalykus. Šio darbo tikslas – nagrinėti, analizuoti M. Katiliškio novelių romane „Miškais ateina ruduo“ erotikos sklaidą. Taip pat kaip kontekstą pasitelkiant Lazdynų Pelėdos „Klaida“ (1909), A. Kazio Puidos „Žemės giesmė“ (1911), J. Lindės-Dobilo „Blūdas arba Lietuva buvusios Rosijos revoliucijos mete“ (1912), Juozo Tumo-Vaižganto „Pragiedruliai. Vaizdai kovos dėl kultūros. Gondingos kraštas“ I T. (1918), Juozo Tumo-Vaižganto „Pragiedruliai. Vaizdai kovos dėl kultūros. Vaduvų kraštas“ (1920), A... [toliau žr. visą tekstą] / In the book “Lietuvių literatūra svetur 1945-1967” K. Keblys says, that the novel “Miškais ateina ruduo” (1957) by M. Katiliškis together with the works of such Lithuanian writers as “Mėnesiena” (1957) by A. Baronas and “Balta drobulė” (1958) by Škėma stood out from other works written in 1956-1959. The novels of the first two authors were breath fresh impetus in Lithuanian literature. The biggest contribution was of the novel “Balta drobulė” by A. Škėma and the period of 1956-1959 is associated with the novel “Balta drobulė” by A. Škėma. But M. Katiliškis with this novel stands out from other writers in Lithuanian literature because of its bold spread of eroticism. The topic of the thesis is the spread of eroticism in the novel “Miškais ateina ruduo” by M. Katiliškis. The selection of the topic was determined by the wish to reveal the attitude of the author and his contemporaries towards erotika, to see how each of them perceived and portrayed rather relevant subjects which seem unacceptable (taboo) subjects to Lithuanian nation. The aim of this paper is to investigate the spread of the eroticism in the novel “Miškais ateina ruduo” by M. Katiliškis. As a means of background taking the novel “Klaida” (1909) by Lazdynų Pelėda, “Žemės giesmė” (1911) by A. Kazys Puida, the novel “Blūdas, arba Lietuva buvusios Rosijos mete” (1912) by J. Lindė-Dobilas, “Pragiedruliai”. Vaizdai kovos dėl kultūros. Gondingos kraštas I T (1918) by Juozas Tumas-Vaižgantas... [to full text]

This dissertation is a study of Plutarch's portrayal of military leadership in his Parallel Lives. I investigate Plutarch's use of extended military narrative to provide examples of good generalship for his readers, his conception of the importance and dangers of a military education, his attitude toward the moral use of deception in warfare, and the importance of synkrisis to the reader's final assessment of a general's military ability. I conclude with a case study of the Pyrrhus-Marius, in which I examine how Plutarch uses military narrative throughout the pair to compare the generalship of the two men. I demonstrate that Plutarch's conception of generalship in the Parallel Lives is nuanced, consistent, and often significant to the interpretation of a pair. Plutarch constructs his military narratives in such a way as to identify specific acts of generalship through which the military leaders among his readership could evaluate and improve their own generalship. Plutarch's treatment of the morality of generalship is consistent with his views on education and character; while he accepts the necessity and appreciates the effectiveness of military deception, he also recognizes its limitations and holds up for criticism those generals who do not use it appropriately. I also examine the importance of the formal synkrisis at the end of each pair of Lives to the structural integrity of the Plutarchan book and the evaluation of military leadership in each pair. These concluding synkriseis demonstrate that Plutarch had a consistent set of criteria for evaluating the generalship of his subjects, and encourage the reader to make similar judgments on military ability themselves. This process of evaluation and comparison of military leadership is particularly important to my reading of the Pyrrhus-Marius, as comparing the military careers of its subjects allows for a more complete reading of the pair than is otherwise possible.

Thesis--Leipzig, 1935. / "Diese Dissertation erscheint gleichzeitig in der Reihe der Historischen Abhandlungen im Verlag Dr. Emil Ebering. Berlin." Bibliography, p. 5-6.

Thesis (M.A.)--Carleton University, 1995. / Includes bibliographical references.

No description available.

Thesis (M.A.)--Carleton University, 1995. / Includes bibliographical references. Also available in electronic format on the Internet.

Notre thèse en deux volumes vise à donner une traduction inédite du premier commentaire de Boèce à l’Isagogè de Porphyre à partir de l’édition critique de Samuel Brandt publiée en 1906. De fait, Boèce s’appuie sur la traduction latine de Marius Victorinus et non, comme le suggère le titre, sur le texte grec de Porphyre. Le premier volume contient une introduction générale articulée en quatre parties: examen critique des études secondaires; les sources matérielles du premier commentaire de Boèce à l’Isagogè; le traitement des questions de Porphyre sur les universaux; et l’Isagogè de Marius Victorinus et la tradition rhétorique latine. Les thèses que nous défendons sont les suivantes : le commentaire perdu de Porphyre sur les Catégories (A Gédalios) pourrait avoir été la source principale de ce traité logique de Boèce ; historiquement, les trois questions de Porphyre ont été apparentées à la réfutation porphyrienne de la position anti-aristotélicienne de Plotin ; et, contrairement à Victorinus qui considère l’Isagogè comme une introduction aux Topiques de Cicéron, Boèce la conçoit dans la perspective néoplatonicienne qui fait d’elle une introduction aux Catégories d’Aristote. Cette introduction est suivie de la traduction française accompagnée du texte latin de l’édition de Brandt. Notre commentaire à la traduction est développé dans le second volume qui contient également une traduction française inédite du commentaire d’Ammonius à l’Isagogè de Porphyre et une réfutation de la thèse soutenue par Brandt dans ses prolegomena de son édition critique à propos des parallèles textuels attestés dans les commentaires à l’Isagogè de Boèce et d’Ammonius (cf. appendices 1 et 2). / Our thesis in two volumes aims to give an original French translation of Boethius’s first commentary on Porphyry’s Isagoge based on the critical edition published by Samuel Brandt in 1906. Actually, Boethius commentary deals with the Latin translation of Marius Victorinus and not, as the title seems to suggest, with the greek treatise of Porphyry. The first volume contains a general introduction divided into four parts : a critical studies of the secondary sources; the material sources of the Boethian first commentary on Isagoge; the Boethian analysis of Porphyry’s three questions about universals; and Marius Victorinus’ Isagoge and the Latin rhetorical tradition. The thesis we defend in the introduction can be summarized as follows : Porphyry’s lost commentary on Categories (Ad Gedalium) may have been the main source of the first Boethian commentary on Isagoge ; historically, the three questions on universals had been related to the Porphyrian refutation of anti-Aristotelian position of Plotinus ; and, unlike Victorinus which considers Isagoge as an introduction to Cicero’s Topica, Boethius adopts the Neoplatonic perspective which makes it an introduction to Aristotle’s Categories. This introduction is followed by the French translation accompanied by the latin text edited by Brandt. Our commentary on the Boethian treatise is developed in the second volume, which also contains an original French translation of Ammonius’ commentary on Porphyry’s Isagoge and a full refutation of the thesis supported by Brandt in his prolegomena to his critical edition about the textual parallels attested in the Boethian and Ammonian commentaries on Isagoge (cf. appendix 1 and 2).

Le chorégraphe français Marius Petipa (1818-1910), qui a effectué la majeure partie d’une très longue carrière au service des Théâtres impériaux, est considéré comme l’inventeur du grand ballet académique ou du ballet « russe ». Ceci constitue un paradoxe intéressant, dans la mesure où il s’agit d’un chorégraphe étranger. Cette thèse propose d’envisager l’œuvre de Marius Petipa comme une œuvre à la frontière entre deux pays et deux cultures et de mettre à jour les oppositions et les tensions qui la traversent. Nous l’analysons comme un exemple d’hybridation culturelle et de transfert culturel, une notion qui sert à définir toute réalité sociale issue de contacts entre des identités initialement distinctes et autonomes. La question centrale soulevée dans cette thèse est l’analyse de la dimension slave de son œuvre et de son imaginaire au contact de la réalité russe. Après avoir brossé le contexte culturel et artistique russe, sont examinés les ballets des prédécesseurs de Petipa qui abordent un sujet slave et russe. Nous analysons Le Prisonnier du Caucase ou l’ombre d’une fiancée (1823) et Rouslane et Lioudmila ou Tchernomor, le sorcier maléfique (1824) du chorégraphe français Charles-Louis Didelot. Le ballet abordant le monde slave apparaît également dans l’œuvre de Jules Perrot. Le ballet signé par Arthur Saint-Léon, Le Petit Cheval bossu (1864), inspiré par le conte de Piotr Erchov, connaît un vrai succès. Le chorégraphe français s’adresse également à l’œuvre d’Alexandre Pouchkine pour son ballet au thème russe, Le Poisson doré (1867). Sont enfin analysés les ballets méconnus et peu étudiés de l’œuvre petipienne qui abordent un sujet slave : Roxana, la Belle de Monténégro (Saint-Pétersbourg, 1878) et Mlada (Saint-Pétersbourg, 1879). Ces créations coïncident avec un moment de tensions sociales et d’émergence des idées nationales en Russie au XIXe siècle. Elles confirment aussi la volonté du ballet de s’adapter, à sa manière, aux tendances du jour, reproduites cependant d’une façon conventionnelle. Cette thématique slave, abordée en Russie par les chorégraphes français, contribue à la construction de la notion de « ballet russe » qui trouvera son apogée au début du XXe siècle à Paris. / The French choreographer Marius Petipa (1818-1910), who spent most of his life-long career at the service of the Imperial Theatres, is considered as the inventor of the academic Grand Ballet, or Russian Ballet. This constitute an interesting paradox, since he happens to be a foreign choreographer. This thesis proposes to look at Marius Petipa's work as a work on the frontier between the two different countries and cultures and to expose the oppositions and tensions that cross it. We’ll study it as an example of cultural hybridization and cultural transfer, a notion used to define every social reality issued from the contacts between two initially distinct and autonomous identities. The main hypothesis studied through this thesis is the analysis of the Slavic dimension of his artwork and of its imaginary in close proximity of a Russian reality. After covering the Russian cultural artistic context, the ballets of Petipa’s predecessors who address the Slavic and Russian topic are examined. We analyse The Prisoner of Caucasus, or the Bride’s shadow (1823) and Ruslan and Ludmila, or Chernomor, the evil magician (1824) by the French choreograph Charles-Louis Didelot. The ballet created by Arthur Saint-Léon, The Little Humpbacked Horse (1864), inspired with Piotr Erchov’s tale, was met with success. This choreograph draws also his inspiration from the Alexander Pushkin’s tale to compose The Golden Fish (1867). Finally, we explore little known ballets with a Slavic theme of Petipa’s universe: Roxana, the Beauty of Montenegro (Saint-Petersburg, 1878) and Mlada (Saint-Petersburg, 1879). These creations coincided with a period of social tensions and the emergence of national ideas in Russia in the 19th centaury. They also confirm the ballet's desire to adapt, to the trends of the day, reproduced however in a conventional way. This Slavic theme in the work of French choreographs in Russia contribute to the construction of the notion of «Russian ballet» the will arrive in its apogee in the 20th centaury in Paris.

Teologiske doktorgrad--Teologiske fakultetsråd--Aarhus, 1991. / Résumé en anglais.

Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes the program from the production of Carmen at the University of Puget Sound on August 12 and 13, 1995, in pocket. Includes bibliographical references (leaves [109]-111).