Thesis--Leipzig. / Cover title. Vita. Includes bibliographical references (p. i-iii).

There is an increasing interest in the operas of Georg Frideric Handel, both from a scholarly perspective, and that of the modern, professional opera company. Producers of Handelian opera have moved away from productions similar to those staged in Halle, Germany, in the 1920s, which featured vastly reduced recitative and stripped the da capo aria to a single statement of the 'A' section. Modern productions have restored Handel's musical text, and in addition have attempted to recreate the original dramatic conditions and ethos of the work. The problem faced by the Halle producers still exists, however. How does the modern producer satisfy the expectations of the modern audience, while remaining faithful to the intention of the composer and the original production. This paper will investigate a possible approach to staging Handelian opera, with specific reference to the 'Mad Scene' from Handel's opera Orlando. Included in this examination will be a discussion of eighteenth-century British staging practices. These elements will be considered in the light of stage design and scenic practices of the period.

Due to the lack of a critical approach that takes into account the theatrical aspect of Boiardo's poem, we have undertaken a semiotic analysis that brings forth some peculiarities of the poem's theatrical performance, most of which stem from the traditional "cantari". / The intertextual comparison between the principle "cantari epico-cavallereschi" and the "Inamoramento de Orlando" permits us to reevaluate the importance of these sources, that are, in our opinion, essential to the comprehension of the poem. However, these sources have not been, to date, considered determining by literary critics. In addition, we highlight the various aspects of communication between the narrator and his audience. / Finally, the analysis of the rhetorical structure of the poem (proems, epilogues, narrative connectors, commentary, orality) allows us to propose an hypothesis of double reception of the "Inamoramento de Orlando " as well as a double reading of the poem, both as a theatrical representation and as a novel. This provides Boiardo's poem with its special trait of "open text".

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Textual repetitions abound in verses of the Seven Penitential Psalms of Lassus and this research attempts to discover their function. A total of one hundred and thirty-two verses were analyzed. The results of this investigation exhibit numerous mathematical figures underlying the entire work's structure, and the influence of repetitions is conspicuous in each figure's organization. Moreover, this study shows, in a smaller measure, the mutual influence between form and text expression. A detailed method of calculation is also provided which may eventually be applied to other works of the repertoire of the sixteenth century.

Thesis--New York University, 1912. / Bibliography: p. 126-130.

The focus of this Diploma Thesis is the work of Virginia Woolf as a representative of the literary modernism in England between the two World Wars. The Thesis also deals with the diaries of the famous writer, and it defines the basic philosophical concepts in the modernist experiment (concept of time, stream of consciousness technique) on the basis of the reading and analysis of her late novels.

There is an increasing interest in the operas of Georg Frideric Handel, both from a scholarly perspective, and that of the modern, professional opera company. Producers of Handelian opera have moved away from productions similar to those staged in Halle, Germany, in the 1920s, which featured vastly reduced recitative and stripped the da capo aria to a single statement of the 'A' section. Modern productions have restored Handel's musical text, and in addition have attempted to recreate the original dramatic conditions and ethos of the work. The problem faced by the Halle producers still exists, however. How does the modern producer satisfy the expectations of the modern audience, while remaining faithful to the intention of the composer and the original production. This paper will investigate a possible approach to staging Handelian opera, with specific reference to the 'Mad Scene' from Handel's opera Orlando. Included in this examination will be a discussion of eighteenth-century British staging practices. These elements will be considered in the light of stage design and scenic practices of the period. / Arts, Faculty of / Music, School of / Additional material: 1 videocassette (Koerner Library). / Graduate

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