This thesis offers a reading of feral children in literature and culture from the seventeenth century until the first decades of the twentieth century. "Feral children" are taken to be individuals who have grown up, or spent some part of their childhood, in a condition of solitude. It also refers to infants who have been brought up, or temporarily nurtured, by animals. The chief concerns of the thesis are the problems that such children raised in defining what it was to be human. In order to elucidate this question, I interpret first-hand and fictional accounts of feral children within the context of ideas concerning language, political concepts of the state of nature, the idea of the soul, and images of race. The introduction explores some key historical areas of interest in the consideration of the feral child. The first chapter offers readings of the Romulus and Remus story, and anecdotes drawn from the writings of Sir Kenelm Digby and Bernard Connor. The second chapter examines the case of Peter the Wild Boy as discussed by Daniel Defoe, and the third chapter considers the Savage Girl of Champagne and her place in the writings of Lord Monboddo. The fourth chapter interprets the case of the Wild Boy of Aveyron in the context of Enlightenment thought on the origins of language and society. The fifth chapter is concerned with Kaspar Hauser, a boy allegedly brought up the isolation of a single windowless room. In a coda to this chapter, I suggest links between the romance elements of the Hauser story (he was considered by many to be an abandoned Prince) and Edgar Rice Burroughs' Tarzan of the Apes (New York: 1914). The sixth chapter explores the racial meanings of the feral child in Kipling's Jungle Books. The final chapter offers a conclusion to the ideas raised in the thesis, and suggests that in the period from the 1850's to the 1910's the discourses of "savagery" used to describe the feral child became increasingly applied to ordinary children.

No description available.

Thèse--Fribourg, Suisse--Faculté des lettres, 1985. / Bibliogr. p. 325-358. Index.

Diss. : Altgeschichte : Wien : 1980. - Bibliogr. p. III-VIII.

Texte remanié de: Thèse de doctorat--Études latines--Paris 4, 2005. Titre de soutenance : Romulus et la Rome du Ier siècle avant J.-C. : étude sur l'utilisation idéologique et l'évolution de l'image du premier roi à la fin de la République. / Bibliogr. p. 495-538. Notes bibliogr. Index.

Marie de France a rédigé en Angleterre vers 1170 le premier recueil de fables en français, original à la fois par son ampleur (104 fables) et par sa variété.Sa première partie est une réécriture des fables classiques issues de la tradition du Romulus et en particulier d’un de ses remaniements, le Romulus de Nilant, composé avant le Xe siècle. Marie a traduit du latin un recueil intermédiaire perdu, le *Romulus anglo-latin, d’où provient également un recueil latin, le Romulus hexamétrique (Xe siècle). Si Marie prétend, à la fin de son recueil, s’appuyer sur un recueil anglais, celui-ci n’a jamais été retrouvé et les indices historiques suggèrent plutôt une source factice. Sa réécriture des fables antiques se caractérise par une réinterprétation des rapports de force dans un contexte féodal.La seconde partie, composée d’éléments variés, contient d’autres fables antiques dont le rassemblement est imputable à Marie elle-même. Le reste des fables n’a pas de source connue mais leurs origines peuvent être liées à différents genres en formation au XIIe siècle : les formes hétérogènes du récit comique qui aboutissent plus tard au fabliau (chansons, contes, aphorismes) et que Marie a pu connaître par l’intermédiaire du monde clérical ; le roman épique animalier qui prend forme aux XIe et XIIe siècles et qui pouvait circuler sous la forme d’assortiments de poèmes latins ; au moins deux exemples de fables arabes ; des fables « philosophiques » issues peut-être du monde de la prédication ou de l’invention personnelle de l’auteur.La répartition de ces fables dans le recueil montre que Marie a pu l’élaborer en « trovant » (découvrant, inventant) différents matériaux de multiples origines sur une longue période de temps. / Marie de France wrote in England, around 1170, the first book of fables in the French language, original both by its extent (104 fables) and by its diversity.The first half is an adapation of classical fables taken from the Romulus tradition and in particular from one of Romulus’ many offsprings, the Romulus de Nilant, written before the 10th century. Marie translated from latin a lost intermediary, the *Anglo-latin Romulus, from which also derives the Hexametrical Romulus (10th century). Though Marie asserts in her epilogue that she worked from an English book, historical context and contemporary sources suggest a fictitious claim. The main characteristic of her adaptation of the fables from Antiquity is the recasting of the classical power struggles into the feodal context.The second half is far more diverse and contains other fables from Antiquity probably gathered by Marie herself as well as many fables of unknown sources but whose origins can be linked to different emerging genres of the XIIth century : the comic story in all its varied forms from which the fabliau will soon be born (songs, tales, aphorisms), known to Marie by way of the clerical world ; the beast epic taking shape during the XIth and the XIIth centuries, accessible to Marie in manuscripts collecting latin animal poems ; at least two exemples of Arabic fables and “philosophical” fables taken from predicators or entirely invented by the author.The repartition of theses fables in her anthology-like book shows that Marie could have built it by “finding” (trover, meaning both finding and inventing) diverse materials from many origins over a lenghty period of time.

This thesis aims to discern whether cyclical history can be appropriately applied to the Ab Urbe Condita, and from these findings discern Livy's authorial implications for the contemporary political program. This process is conducted by analyzing exempla , as well as constructing a new definition of metus hostilis. Doing so allows for the detection of patterns, that when imprinted upon the existing formulaic model, examines whether the metus hostilis enhances the case for Livy writing the AUC with cyclical intent. Based on this analysis, the implications for contemporary Rome are clear in that the narrative insinuates the Augustan regime's necessity.

This dissertation discusses the interaction of mythology and power in the Roman Republic and early Principate. It identifies a mythological paradigm that has not been recognized in previous scholarship ("pairs") and traces the use of this paradigm by Roman writers of the second and first centuries BCE. It argues that pair stories problematize the relationship between Roman elite ambition and the Republic's political ideals of equality and cooperation among magistrates. It further argues that these stories evolve over the course of the two centuries under discussion, from tales that are relatively optimistic about the potential of reconciling the tension between individual ambition and elite collegiality to tales that are extremely pessimistic. This evolution is tied to the political turmoil visible at Rome in this period. Several stories are identified as pair stories. The first and most well-attested is the foundation myth of the city, which is discussed at length in chapters two through six. In chapters seven and eight, the pattern is established through the analysis of Amulius and Numitor, Brutus and Collatinus, and the men known as affectatores regni. The historical development of these tales is discussed as thoroughly as possible. The argument throughout is that narratives from second-century writers depict pairs as representatives of productive rivalry. This rivalry encourages the elite to achieve beneficial results for the city, and can be set aside for the public good. Such depictions become less prevalent by the later first century, when the pair narratives instead tend to illustrate destructive competition. This destruction must be understood in the context of its times; the third quarter of the first century BCE saw the establishment of Rome's first monarchy in centuries. It is under the Principate that the tales again become clearly different: competition disappears. Soon afterwards, so does the use of these stories as a tool to think with.

This dissertation discusses the interaction of mythology and power in the Roman Republic and early Principate. It identifies a mythological paradigm that has not been recognized in previous scholarship ("pairs") and traces the use of this paradigm by Roman writers of the second and first centuries BCE. It argues that pair stories problematize the relationship between Roman elite ambition and the Republic's political ideals of equality and cooperation among magistrates. It further argues that these stories evolve over the course of the two centuries under discussion, from tales that are relatively optimistic about the potential of reconciling the tension between individual ambition and elite collegiality to tales that are extremely pessimistic. This evolution is tied to the political turmoil visible at Rome in this period. Several stories are identified as pair stories. The first and most well-attested is the foundation myth of the city, which is discussed at length in chapters two through six. In chapters seven and eight, the pattern is established through the analysis of Amulius and Numitor, Brutus and Collatinus, and the men known as affectatores regni. The historical development of these tales is discussed as thoroughly as possible. The argument throughout is that narratives from second-century writers depict pairs as representatives of productive rivalry. This rivalry encourages the elite to achieve beneficial results for the city, and can be set aside for the public good. Such depictions become less prevalent by the later first century, when the pair narratives instead tend to illustrate destructive competition. This destruction must be understood in the context of its times; the third quarter of the first century BCE saw the establishment of Rome's first monarchy in centuries. It is under the Principate that the tales again become clearly different: competition disappears. Soon afterwards, so does the use of these stories as a tool to think with.

This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was at two o’clock in the afternoon.