Thesis (Ph. D.)--University of Wisconsin--Madison, 1963. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 341-348).

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Igor Stravinsky’s 1927 opera-oratorio Oedipus Rex (with libretto by Jean Cocteau) contains quintessential Neoclassical qualities: it is a reduced, mechanical, and austere version of the Sophocles play, using older operatic devices within static harmonic momentum and ambiguous functionality. A closer look into the conception and intrinsic fabric of the work, however, betrays certain ideological bonds with the Russian neonationalist movement of the late 19th century. This movement had its origins in the visual arts but soon its principles carried over to music. The neonationalists valued the intrinsic properties of the folk subject (ornamentation in art, geometrical aspects of line, folk song) rather than the folk subject itself. In other words, the abstraction of the folk subject’s innate qualities, rather than mere quotation, served as the means to a wholly modern artwork. Neonationalist ideals would serve as the catalyst for Stravinsky’s modernist revolt in Le Sacre du Printemps (as explored by Richard Taruskin.) Although the movement itself is distanced from Stravinsky’s Neoclassical period and Oedipus Rex, its ideals can be traced from Le Sacre to Oedipus and beyond. In addition, the social and cultural milieu of Jean Cocteau in interwar France serves to position this work as distinctly modernist mainly through its abbreviation of the original source. In this study, I will explore the perpetuation of these ideals in Oedipus through its musical language and abstraction from sources to place it as an entirely new musical concept. / text

A series of scenes taken from Greek theatre were collaborated and chosen to form what became known as An Evening of Greek Theatre. Along with the normal challenges of creating a production, such as memorization, blocking, costuming, and others, came challenges that were unique to this particular one. The training we are most familiar with is in the confines of realism, and this particular production had little to do with realism. The stylization created an amalgamation of techniques, which became a functional process used to create An Evening of Greek Theatre. Along with these problems were other ones, such as dealing with the mythological significance of the characters and the stigmas that go with them. This, too, provided a breeding ground for creativity and experimentation. All this came together to form a successful and rewarding production.

Inaug.-Diss.--Utrecht. / Bibliography: p. [68]-74.

It is hypothesized that Rex Hopper's model for the development of a South American political revolution will apply equally to the development of a social movement which is not a South American political revolution, namely, the Ku Klux Klan. The general purpose of this study was to test the generalizability of Hopper's model.

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Les institutions de la République romain (509-27 av. J. C.) prévoyaient, théoriquement, que les magistratures électives et annuelles ne devaient jamais être vacantes. Ce principe juridique fondamental avait pour conséquence une absolue continuité dans la détention du pouvoir exécutif qui reposait sur le ius, les auspicia et l’imperium. Cependant, il arriva à maintes reprises que les magistratures supérieures – consulat, tribunat militaire à pouvoir consulaire – fussent suspendues en raison soit d’entrave à la tenue des comices électoraux, soit de scrupules religieux entraînant l’expiation rituelle et la renouatio auspiciorum. La légimité et la légalité de la solution à la vacance du pouvoir exécutif reposaient alors sur les patres auctores, détenteurs des auspicia patrum, apanage exclusif des sénateurs patriciens. Les vénérables pères, descendants des plus illustres familles de Rome, étaient les seuls à même de remédier à la vacance des magistratures par ce rite nommé interregnum qui remontait, d’après la tradition, à l’époque royale latino-sabine et renvoyait au mythe bien connu du démembrement et de l’apothéose de Romulus. Le partage du corps souverain constitue à ce titre un symbole fondamental de la représentation de l’auctoritas patrum et de la magistrature républicaine dont il serait peut-être vain de rechercher l’historicité. L’objet de cette étude est donc d’analyser la fort ancienne institution de l’interregnum qui, comme bien d’autres, était caractérisée par un passage progressif du sacral au juridique. Le droit public prévoit dans tout système institutionnel des recours d’exception révélant la représentation psychologique du pouvoir souverain. Rome n’échappe pas à la règle ; elle put même, d’une certaine façon l’inventer. / The institutions of the Roman Republic (509-27 B.C.) were made to ensure, in theory, that electives and annuals magistracies must never be vacant. This fundamental juridic rule had for consequence an absolute continuity in the detention of the executive power which were based on ius, auspicia and imperium. However, in many times it occurs that the supremes magistracies – consulate, military tribunate with consular power – were suspended in reason either hindrance to the conduct of consular elections or religious misgiving leading to ritual expiation and renouatio auspiciorum. Legitimity and legality of the solution to the vacancy of the executive power then relied on the patres auctores, holders of the auspicia patrum, exclusive privilege of the patrician senators. The venerables fathers, heirs of Rome’s most illustrious families, were the only ones habilited to put an end to the vacancy of the magistracies by using this ritual called interregnum which appeared, following the roman tradition, during the latine-sabine period et were connected to the famous myth of the dismemberment and the apotheosis of Romulus. The partition of the king’s embodiment constitute, as such, a fundamental symbol of the representation of auctoritas patrum and of the republican magistracy on which it should be vain to search any historicity. The purpose of this study is so to analyse the very old institution of the interregnum which, as many, were caracterised by the progressive transformation from the sacral to the juridic. The public law makes provision, in all institutionnals systems, for exception resort revealing the psychologic representation of the sovereign power. Rome is not an exception to the rule ; the city could even, in a certain manner, have invented it.

The thesis is an attempt to understand tragic guilt. My starting point is a comparison of Sophocles' Oedipus at Colonus with Shakespeare's Macbeth. The question of "guilt" is treated very differently in these two plays. Oedipus' guilt is a result of an action which is discovered, not chosen. He is the victim of a curse which lies upon his family and thus his own guilt is an ambiguous thing. He suffers against a background of a Law which demands punishment and a promise from a god that he shall be "saved". Oedipus at Colonus begins, as does Oedipus Rex, after the decisive act of murder and incest has been committed. But Macbeth begins before anything has been done; Macbeth is presented with a possibility and he chooses to believe that he can make it a reality. We are allowed to see the moment at which guilt appears in the individual. Macbeth becomes guilty before the very image of himself murdering Duncan. In Greek tragedy the guilt is often blood-guilt, a curse which descends from one member of a family to another and may devastate an entire house. But in Macbeth the guilt begins in the desires of one man. Macbeth is left with a personal despair which is different from the suffering that Oedipus undergoes. In the novels of Thomas Hardy, the perspective on guilt has shifted from the privacy that surrounds Macbeth at his death to the social world of nineteenth century England. Michael Henchard is perhaps closest to Macbeth in that he is destroyed more by the forces in his own personality than by the pressures of external society. But with Tess we have a heroine who is "pure", a woman who is defeated more as a result of the failings in a society than by any personal faults. There is little feeling of her having any particular "guilt". Jude Fawley's particular "tragedy" also must be seen in terms of the society that moves around him, its laws and conventions. The guilt is never entirely his own, nor is he simply an innocent victim. The presence of a definite society is hardly felt at all in the two novels of Conrad. Jim is a "romantic", a young man barely past adolescence who is obsessed with a concept of honour which he feels he has betrayed in a moment of cowardice. But he seems to become guilty in a deeper sense because of this obsession; he betrays others by choosing to live in an imaginary world of romantic achievement. Nostromo is also obsessed with a dream: to be a Man of the People. If Conrad's characters become guilty, it is because of their intense egoism, their inability to escape their passion for an idea. In Arthur Miller's The Crucible the guilt of an individual seems less important than the guilt present in a society. That guilt is an illusion based on a fear of not conforming to a rigorous law. We are left with the tragedy of a society which must find a victim to appease its own feeling of guilt. John Proctor is one of the chosen victims; a man who must die to save his integrity. But his death is the result of a web of guilt spread through an entire society. / Arts, Faculty of / English, Department of / Graduate