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Die Arie des Hippolytus : Kommentar zur Eingangsmonodie in der Phaedra des Seneca... /Stähli-Peter, Monika Maria. January 1974 (has links)
Inaug.-Diss.--Philosophische Fakultät--Zürich, 1973. / Contient le monologue d'Hippolyte de la "Phèdre" de Sénèque en latin avec traduction allemande en regard. Bibliogr. p. 9-15.
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Creation in Qohelet Ecclesiastes 1.1-11 as cosmology, national history, and autobiographyInce, Taylor Haden January 2017 (has links)
This thesis is a close reading of Ecclesiastes 1.1-11 in the BHS edition of the MT of Qohelet. Its main contention is that Ecclesiastes 1.3-11 is an exposition of the collocation that ends 1.2, of hakkol hevel, and that consequently, the best way to begin to understand hevel in Ecclesiastes is to understand 1.3-11. Chapter 1 presents the scholarly conversation this project enters while presenting some of the unresolved problems the primary text creates. Answers to these problems are suggested, anticipated contributions enumerated. It has not been shown to satisfaction how the first eleven verses of this book cohere or how its various strands―involving Davidic Israel, Qohelet himself, and all creation―tie together. This thesis aims to help remedy that situation. It shows Ecclesiastes not to be the black sheep of the Hebrew Bible but in line with its whole corpus. Chapter 2 reads Ecclesiastes 1.1 as forming an allusive-inclusio with verse 11 which echoes the regnal history of Israel from David to exile, thereby initiating the process of folding the story of Qohelet and Israel into the creation account which follows. It is thus a primer for the two-word judgment hakkol hevel which is summarised in verse 2 and unpacked in verses 3-11 and which folds all things (hakkol) into one thing (hevel). Chapter 3 is a reading of Ecclesiastes 1.2 that discerns its final two words, hakkol hevel, as encapsulating the verse and determining the verses that directly follow, namely Ecclesiastes 1.3-11. These two words carry the verbal freight of hevel into the creation of 1.3-11 and suggest that if we want to understand hevel we must understand the words that immediately follow and first explain it, verses 3-11. Lastly, the way in which hevel appears in verse 2 suggests what verse 1 did, that Qohelet is drawing on the sordid history of Israel to explain the state of all things in what follows. Chapters 3-6 are a close reading of Ecclesiastes 1.3-11 that traces the dynamic of hakkol hevel as it unfolds within creation, speaking both to the corrupt condition of creation and of Israel, thus tying the two together. Chapter 4 reads Ecclesiastes 1.3-4 as showing man and nature as distinct, connected by man’s painful toil, and thus characterised in their relationship by a subtle animosity. Chapter 5 reads Ecclesiastes 1.5-7 as showcasing nature as something characterised by man’s profitless toil but in its own way, through its endurance as opposed to man’s transience. Chapter 6 reads Ecclesiastes 1.8 as the convergence- point of the prologue, as the place where all creation becomes one, wearying thing and thus succinctly reflects hakkol hevel, whose highly antithetical meaning is something like everything is nothing. Verse 8 also hints at the reason for this cosmic fusion and dissolution: it is man’s idolatry, something hevel often speaks to in the Hebrew Bible. Chapter 7 reads Ecclesiastes 1.9-11 as the consummation of this cosmic fusion and dissolution: in these verses all time and space converge into one, wearying, forgettable and forgotten thing. The process mimics the process of death and tells us about what hevel means, for creation, and through Qohelet, for his people, Israel. This homogenisation of time and space polemicises the Latter Prophets through allusion and counters the hope for Israel and creation they proclaim. This is what hakkol hevel means for Qohelet. It means the end of all things, including Israel, in death, and owing to idolatry. Even so, through echo of the Hebrew Bible and in line with it, this prologue may hold out a glimmer of hope for Israel and all things.
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Episode 0.0 – PrologueTarnoff, David 01 January 2020 (has links)
This episode is a brief introduction to the Geek Author series, Computer Organization and Design Fundamentals, and to it’s host, David Tarnoff.
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Mécanismes et fonctions du prologue dans les romans en vers écrits entre 1170 et 1230Bonneville, Chantal January 2007 (has links)
Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.
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Prologue, Périodes, Partiels e Modulations, de Gérard Grisey: análise musical em diálogo com os escritos do compositorPinto, Daniel Paes de Barros 26 August 2013 (has links)
Este trabalho se propõe estudar as peças Prologue (1976), Périodes (1974), Partiels (1975) e Modulations (1977), do compositor francês Gérard Grisey (1946-1998). As peças são integrantes do ciclo Les Espaces acoustiques, obra fundamental para a compreensão do que se convencionou chamar espectralismo francês. Além de sua importância como ponto de referência em sua época, o ciclo é também significativo do ponto de vista do desenvolvimento da linguagem do compositor, porque, composto ao longo de onze anos (1974-1985), apresenta momentos diversos do estabelecimento de sua linguagem. O trabalho de análise foi construído, principalmente, com base nos escritos teóricos do compositor, reunidos postumamente em um volume intitulado Écrits, publicado em 2008. Em nossa análise, buscamos encontrar nas peças a aplicação prática das principais preocupações apontadas por Grisey em seus textos. Além dos textos de Grisey, as análises são apoiadas também por outros autores que se dedicaram à sua música, como Jerôme Baillet, Philippe Leroux e François Féron. As análises são precedidas por um primeiro capítulo, que trata das maiores influências recebidas pelo compositor das mãos de seus mestres, no Conservatório de Paris, na Villa Médicis e em Darmstadt. São apontados pontos de conexão com a obra de Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis e Giacinto Scelsi. Nas conclusões, buscamos esboçar um sumário das ideias compiladas por Grisey em relação a passagens específicas das peças analisadas no trabalho. Incluímos um anexo, contendo traduções das bulas e instruções para performance das peças estudadas. O trabalho se justifica por contribuir para a compreensão e divulgação de uma música que começa a ser mais amplamente explorada no Brasil, tanto do ponto de vista da performance, como em seus aspectos teóricos. / This work studies the pieces Prologue (1976), Périodes (1974), Partiels (1975) and Modulations (1977), by the French composer Gérard Grisey (1946-1998). The pieces are part of the cycle Les Espaces acoustiques, a milestone work for the comprehension of the so-called French spectralism. Besides its importances as a reference in its time, the cycle is also meaningful from the point of view of the composer\'s technique, because, once it took eleven years to be completed (1974-1985), it presents different aspects of Grisey\'s music. The analyses are based in the composer\'s writings, posthumously gathered in an edition called Écrits, published in 2008. In our analyses we try to find in the music the application of the major concerns stated by Grisey in his writings. Besides his texts, the analyses also benefits from texts of other authors, like Jerôme Baillet, Philippe Leroux and Françóis Féron. The first chapter deals with the major influences received by the composer through the hands of his masters, in the Paris Conservatoire, at Villa Médicis and at the Darmstadt summer courses. References are made to connections between the work of Grisey and those of Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis and Giacinto Scelsi. As conclusions, we present a summary of the ideas stated by Grisey in relation to particular extracts studied in the thesis. We also include an annex with the Portuguese translation of the performance notes and instructions contained in the scores. This work is relevant because it consists in a contribution for the comprehension and disclosing of a kind of music that begins to be widely studied in Brazil, both in its theoretical aspects as from the performance point of view.
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Prologue, Périodes, Partiels e Modulations, de Gérard Grisey: análise musical em diálogo com os escritos do compositorDaniel Paes de Barros Pinto 26 August 2013 (has links)
Este trabalho se propõe estudar as peças Prologue (1976), Périodes (1974), Partiels (1975) e Modulations (1977), do compositor francês Gérard Grisey (1946-1998). As peças são integrantes do ciclo Les Espaces acoustiques, obra fundamental para a compreensão do que se convencionou chamar espectralismo francês. Além de sua importância como ponto de referência em sua época, o ciclo é também significativo do ponto de vista do desenvolvimento da linguagem do compositor, porque, composto ao longo de onze anos (1974-1985), apresenta momentos diversos do estabelecimento de sua linguagem. O trabalho de análise foi construído, principalmente, com base nos escritos teóricos do compositor, reunidos postumamente em um volume intitulado Écrits, publicado em 2008. Em nossa análise, buscamos encontrar nas peças a aplicação prática das principais preocupações apontadas por Grisey em seus textos. Além dos textos de Grisey, as análises são apoiadas também por outros autores que se dedicaram à sua música, como Jerôme Baillet, Philippe Leroux e François Féron. As análises são precedidas por um primeiro capítulo, que trata das maiores influências recebidas pelo compositor das mãos de seus mestres, no Conservatório de Paris, na Villa Médicis e em Darmstadt. São apontados pontos de conexão com a obra de Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis e Giacinto Scelsi. Nas conclusões, buscamos esboçar um sumário das ideias compiladas por Grisey em relação a passagens específicas das peças analisadas no trabalho. Incluímos um anexo, contendo traduções das bulas e instruções para performance das peças estudadas. O trabalho se justifica por contribuir para a compreensão e divulgação de uma música que começa a ser mais amplamente explorada no Brasil, tanto do ponto de vista da performance, como em seus aspectos teóricos. / This work studies the pieces Prologue (1976), Périodes (1974), Partiels (1975) and Modulations (1977), by the French composer Gérard Grisey (1946-1998). The pieces are part of the cycle Les Espaces acoustiques, a milestone work for the comprehension of the so-called French spectralism. Besides its importances as a reference in its time, the cycle is also meaningful from the point of view of the composer\'s technique, because, once it took eleven years to be completed (1974-1985), it presents different aspects of Grisey\'s music. The analyses are based in the composer\'s writings, posthumously gathered in an edition called Écrits, published in 2008. In our analyses we try to find in the music the application of the major concerns stated by Grisey in his writings. Besides his texts, the analyses also benefits from texts of other authors, like Jerôme Baillet, Philippe Leroux and Françóis Féron. The first chapter deals with the major influences received by the composer through the hands of his masters, in the Paris Conservatoire, at Villa Médicis and at the Darmstadt summer courses. References are made to connections between the work of Grisey and those of Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis and Giacinto Scelsi. As conclusions, we present a summary of the ideas stated by Grisey in relation to particular extracts studied in the thesis. We also include an annex with the Portuguese translation of the performance notes and instructions contained in the scores. This work is relevant because it consists in a contribution for the comprehension and disclosing of a kind of music that begins to be widely studied in Brazil, both in its theoretical aspects as from the performance point of view.
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Mécanismes et fonctions du prologue dans les romans en vers écrits entre 1170 et 1230Bonneville, Chantal January 2007 (has links)
Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
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L’Encadrement théâtral : une étude de la pratique et de la fonction herméneutique du parathéâtre en France au XVIIe siècle / Theatrical “Framing” : a Study of the Practice and Hermeneutical Function of Paratheatre in Seventeenth Century FranceArnason, Arni Lukas 18 December 2009 (has links)
Les études littéraires du théâtre ont tendance à considérer la pièce comme si elle constituait à elle seule la totalité de la représentation. Or les pièces de théâtre du XVIIe siècle étaient presque toujours « encadrées » par divers ornements parathéâtraux : prologues, épilogues, chœurs et intermèdes. La représentation était constituée de la pièce, encadrée par ces ornements. Le dessein de cette thèse est double. Nous étudierons, dans un premier temps, la façon dont chaque forme d’encadrement était intégrée à la représentation et quelle fonction pratique les professionnels du spectacle de l’époque lui attribuaient. Nous analyserons, dans un deuxième temps, la façon dont les encadrements influencent l’interprétation de la pièce principale. L’objectif de cette étude est d’illustrer l’utilité herméneutique des encadrements et de démontrer qu’ils sont de véritables clés d’interprétation de l’œuvre, laissées par les auteurs et acteurs du Grand Siècle, qui nous permettent d’appréhender le sens de la pièce tel qu’il était conçu au XVIIe siècle. / Literary studies of theatre have tended to focus on the play itself as though it were the only element of the representation. In reality, however, seventeenth century plays were almost always “framed” by various paratheatrical ornaments such as prologues, epilogues, choruses and intermèdes. Together the play and its complementary encadrements formed a dramatic whole. The purpose of this thesis is twofold. We will first undertake a practical study of each paratheatrical form in order to determine exactly how it was integrated into the performance and what its practical function was perceived to be. We will then analyse the way in which encadrements influence the interpretation of the play. The primary interest of this study is to illustrate the way in which paratheatre is used to direct the spectator’s interpretation. We hope to demonstrate the interest of these “frames” as guides left by the authors and actors of the Grand Siècle, helping us to better understand the meaning of dramatic works as they were perceived in their own time.
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Battlefield 1 i historieundervisningen : Att spela spel med dina eleverKalhitmrawe, Malek January 2019 (has links)
This examination will analyze the possibility of using the game Battlefield 1 while teaching history. Throughout the analysis, Battlefield 1s campaign which is called War Stories will be analyzed together with the introduction of the game which is called Prologue. The analysis of the campaign will be to check how the campaign uses history and what potential historical consciousness can a player of the game obtain. After these two are analyzed, there will be ananalysis on the possibility of using the Prologue and the War Stories while teaching history. In order to analyze the Prologue and the War Stories use of history and historical consciousness, Peter Aronsson and Klas-Göran Karlsson’s theories on how history can be used and their ideas on historical consciousness will be present. A reason for analyzing the Prologue and War Storiesis to see if there is a possibility to use a game that is about World War 1 in the classroom. There are five different War Stories and each one will be analyzed to see how it uses history and if it raises a potential historical consciousness for the player who plays the game. The method for this examination is that the Prologue and the five War Stories will be analyzed through the framework of professor Martin A. Wainwright’s seven thematic units. The Prologue and the War Stories use history in different ways such as an existential way of using history and they raise potential historical awareness on how World War 1 potentially looked like. They also raise knowledge on historical places, figures and weapons such as Lawrence of Arabia and the iconic British tank Mark V. There is a possibility of using the Prologue and War Stories during history lessons, but the main thing for that regards to time and knowledge by the teacher. You have to have time to teach pupils on the game and its mechanics and also the knowledge for how the game is played. This research field regarding videogames and education is not a developed field, and therefore there is a lack of an analysis model for using videogames while teaching. Hopefully, this examination will contribute the research field, so it gets more developed regarding videogames and education.
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Authors, Audiences, and Elizabethan PrologicsHeil, Jacob Allen 2009 December 1900 (has links)
In examining examples of prologues, inductions, and choruses from early modern drama, Authors, Audiences, and Elizabethan Prologics tries to frame a more comprehensive picture of dramatists’ relationships with the plays they write and the audiences for whom they write them. It suggests that these various prologics are imbued with an intrinsic authority that provides something of a rubric, perceptible by both playwright and playgoer, through which one can measure the crucial negotiations with and within the shifting valences of dramatic representation in the early modern period. The project develops a way of thinking about the prologic as a hermeneutics unto itself, one which allows us to contextualize more adequately the manner in which playwrights conceptualize and construct their own relationship to nascent notions of authorship and authority.
My first body chapter (Chapter II) considers the rhetorical construction of audiences’ silences in various Elizabethan interludes, suggesting that such ideal silences register one’s contemplative engagement with the performance and, thus, work to legitimize early drama. The prologues to John Lyly’s plays—my subject in Chapter III—exemplify the desire to legitimize, instead, the playwright. Reading Lyly’s plays alongside his letters of petition to Queen Elizabeth and Sir Robert Cecil, one can see the manner in which Lyly creates an authorial persona rooted in his rhetorical skills. In Chapter IV I examine Shakespeare’s sparse but measured use of prologues to manipulate his audiences’ preconceptions of theatrical conventions and to guide them toward a consideration of what it means to have interpretive agency, how far that agency extends, and where to locate the limits of narrative in the necessarily liminal domain of the theater. Finally, I argue in Chapter V that Thomas Nashe’s Summer’s Last Will and Testament expands the prologic space, mimicking in the playspace the critical, interactive stance that he assumes in the printed marginalia of his prose writing. This is to say that Summer’s Last Will echoes—or in many cases prefigures—the authorial anxieties that Nashe expresses elsewhere in his work, and chief among them is an anxiety over the interpretational agency of the reader and auditor.
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