Thesis (Ph. D.)--University of Notre Dame, 1933. / At head of title: University of Notre Dame. Department of English. Published also without thesis note under title: The influence of Orestes Augustus Brownson. "List of sources and references": p. 134-138.

Thesis (Ph. D.)--Catholic University of America, 1939. / Bibliography: p. [123]-130.

Thesis--University of Kentucky. / Vita. Includes bibliographical references (leaves 383-390).

Thesis--Catholic University of America, 1918. / Description based on print version record. Bibliography: p. 103-106.

O presente trabalho tem como objeto de estudo a tragédia Electra de Eurípides no que concerne à atualização que o poeta faz do episódio em sua versão dramática do mito de Orestes. Para tal, divide-se em duas partes, sendo que a primeira compreende o estudo propriamente dito e a segunda traz uma tradução integral do poema dramático seguindo os moldes de uma tradução acadêmica para fins de estudo. O estudo apresenta três capítulos que abordam a questão da atualização sob diferentes perspectivas. O primeiro trata da história do mito desde Homero até sua chegada à poesia dramática e apresenta um estudo comparativo das três versões trágicas que têm o mito por matéria, a saber, a Oresteia de Ésquilo e as Electras de Sófocles e Eurípides. A partir do segundo capítulo, o foco é dado à Electra euripidiana. Parte-se, então, de uma análise pontual de algumas das personagens e do coro com vistas a um estudo dirigido às inovações do enredo. A encenação da tragédia é, por fim, matéria de estudo do terceiro capítulo, ainda sob o ponto de vista da atualização. De uma forma geral, o estudo tem por objetivo uma reflexão sobre os modelos visados por Eurípides, sobre as adaptações que esses sofreram e, finalmente, sobre a recusa de alguns paradigmas. / This thesis focuses on the tragedy Electra by Euripides taking a more specific look at the way the poet updates this episode in his dramatic version of the myth of Orestes. The thesis is divided in two parts. The first contains the study itself and the second offers an integral translation of the dramatic poem according to the standards of academic translations intended for study. The study encompasses three chapters that address the issue of updating from different perspectives. The first concerns the story of the myth from Homer to its appearance in dramatic poetry and presents a comparative study of the three tragic versions of the myth, namely Aeschylus Oresteia and the Electras of Sophocles and Euripides. From the second chapter on, the focus is on Euripides Electra. This chapter resorts to a detailed analysis of some of the characters and the chorus in order to study the innovations in the plot. Finally, the third chapter discusses the staging of the tragedy, once again from the point of view of the updating. Overall, the study intends to reflect on the models used by Euripides, as well as the adaptations that these models have gone through and, finally, the refusal of some paradigms.

O presente trabalho tem como objeto de estudo a tragédia Electra de Eurípides no que concerne à atualização que o poeta faz do episódio em sua versão dramática do mito de Orestes. Para tal, divide-se em duas partes, sendo que a primeira compreende o estudo propriamente dito e a segunda traz uma tradução integral do poema dramático seguindo os moldes de uma tradução acadêmica para fins de estudo. O estudo apresenta três capítulos que abordam a questão da atualização sob diferentes perspectivas. O primeiro trata da história do mito desde Homero até sua chegada à poesia dramática e apresenta um estudo comparativo das três versões trágicas que têm o mito por matéria, a saber, a Oresteia de Ésquilo e as Electras de Sófocles e Eurípides. A partir do segundo capítulo, o foco é dado à Electra euripidiana. Parte-se, então, de uma análise pontual de algumas das personagens e do coro com vistas a um estudo dirigido às inovações do enredo. A encenação da tragédia é, por fim, matéria de estudo do terceiro capítulo, ainda sob o ponto de vista da atualização. De uma forma geral, o estudo tem por objetivo uma reflexão sobre os modelos visados por Eurípides, sobre as adaptações que esses sofreram e, finalmente, sobre a recusa de alguns paradigmas. / This thesis focuses on the tragedy Electra by Euripides taking a more specific look at the way the poet updates this episode in his dramatic version of the myth of Orestes. The thesis is divided in two parts. The first contains the study itself and the second offers an integral translation of the dramatic poem according to the standards of academic translations intended for study. The study encompasses three chapters that address the issue of updating from different perspectives. The first concerns the story of the myth from Homer to its appearance in dramatic poetry and presents a comparative study of the three tragic versions of the myth, namely Aeschylus Oresteia and the Electras of Sophocles and Euripides. From the second chapter on, the focus is on Euripides Electra. This chapter resorts to a detailed analysis of some of the characters and the chorus in order to study the innovations in the plot. Finally, the third chapter discusses the staging of the tragedy, once again from the point of view of the updating. Overall, the study intends to reflect on the models used by Euripides, as well as the adaptations that these models have gone through and, finally, the refusal of some paradigms.

A work in Nineteenth-century American intellectual history, this dissertation considers the views of Orestes Brownson relating to the intellectual, spiritual, and social activities and changes within the United States during Brownson's lifetime (1803-1876). Brownson is revealed as a consistent absolutist in his basic approach. He maintained a belief in a "divine" absolute truth based on a balance of all extremes. He further maintained that this balance would best be discovered through the use of reason guided by authoritative religious teaching of these "divine" absolute truths.The events in America during Brownson's lifetime constituted challenges and struggles in the new republic that would make it a different country than that existing in 1783. The balance of Brownson's "divine" absolute truth would lead him to criticize all forms of extremism present in Nineteenth-century America; pure democracy, centralization of the federal government, dogmatism, socialism, collectivism, the free-soil movement, feminism, extreme individualism, utopianism, anarchism, special interests, social despotism, the increased power of the Executive, Radical Republicanism, and philanthropy.Brownson was an intellectual gadfly, commenting and criticizing in the face of changes in America, while all the time maintaining his original premises. He abhorred extremism from all quarters. Consequently, there was hardly a reformer, an idealist, or a theorist of any brand who did not at some time offend him and whom he did not subsequently offend by his journalistic retorts.Based primarily on Brownson's original writings and manuscripts and Henry F. Brownson's biography of his father, this discussion of Orestes Brownson's social and political views begins with a biographical sketch of the man behind the thought and then continues with an inquiry into the thought behind the man. Previous Brownsonian scholars have contended that Brownson was inconsistent in his views, directing particular attention to his numerous changes in religious affiliation prior to his conversion to Roman Catholicism in 1844. However, this so-called pilgrimage is considered here as merely a search for the correct authoritative religious teaching to guide reason to find the "divine" absolute truth Brownson already believed to exist. The arguments for Brownson's inconsistency are also based upon his consideration of so vast and varied a number of issues. Such arguments are corrected by placing Brownson in perspective in the discussion of "Orestes A. Brownson and the Spirit of his Times."This examination of Brownson's work discusses his approach to the origin and nature of government, sovereignty and constitutionalism, specifically with respect to the American republic, as well as Brownson's views on the authority of the church and the state. These two subjects of the dissertation lay the foundation for a discussion of Brownson's criticisms of more specific issues of Nineteenth-century America; women, the family, the education of children, and reform and change in government. On these issues, Brownson's criticisms of extreme positions becomes clearer.The final chapter "Orestes Brownson and the American Experience" considers Brownson's arguments for the balance within the American political system. The fundamentals of American government had begun crack and sway under increased centralization of the federal government, increased federal executive authority, and pure democracy brought about by westward expansion, immigration, the slavery issue, and the Civil War. By the end of his life, Brownson was out-of-step with his times, because, in a changed world, he still wrote from the same basic premises of "divine" absolute truth found through reason guided by authoritative religious teachings.

Thesis--Catholic University of America. / Bibliography: p. 131-133.

The present dissertation deals with the function of memory and forgetfulness within the story of Electra and Orestes, as presented by Aeschylus, Sophocles and Euripides. The introductory chapter represents a brief account of the philological and theoretical tools of our research. Chapter One proves that words of active memory as well as expressions of forgetfulness are recurrent in the texts. Chapters Two and Three show how different public roles influence the apparatus of memory for various agents. Memory and forgetfulness operate at three levels: private recollection, public function, and divine agent. We analyze the relationship between the heroic ethos and the collective memory in times of crisis. The three authors treat differently the Electra’s memory and her relationship with the logos of her city, especially because of her liminal tendencies. In Euripideas, we further emphasize a particular aspect of memory: a genos-related aspect of Mnēmosynē that affects both the male and the female functions. Chapter Four further analyzes the feminine liminal potential and the ability to access a transcendental form of memory, ability which at times proves morbid and dangerous. The solution to this burden is either divine intervention, or return to private memory through acts of initiatory forgetfulness. Chapter Five deals with the presence of divine memory and the fissures between the Olympians and the chthonian divinities at the level of mnemonic discourse. The three authors have different ways in recording it. However, there is a general tendency to move from grudging memory to healing amnesty. This effort is sustained by the Olympian divinities in the detriment of the Furies and their pre-cultural form of memory in Aeschylus. The picture is further complicated in Euripides by Helen and her physical presence as a memorial of the war, as well as her ultimate disappearance into thin air. In Sophocles, we witness a similar movement from the "logocentric" memory to the visual and symbolic aspect of social Mnēmosynē. Electra depicts the ambiguities and the failure of monumental memory and the ritualistic return to private memory. Chapter Six analyzes the mnemonic filter in theatrical experience. The dramatic performance is a way to share the social burden of memory: with each show, Orestes' murder is re-tried and collectively re-solved. Beside the memory of the author, the theatrical experience involves the perspective of the public and its function as a “social framework” for the memory of the myths. / text

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