Robert Eugene Ward's impressive body of work encompasses almost every genre of music. He has composed symphonies, operas, large orchestral pieces, chamber works, solo instrumental pieces, extended choral works, short choral pieces, ceremonial works, a ballet, theatre pieces, and even jazz and swing band pieces. Ward's name is recognized in most musical circles but usually only for his opera The Crucible, a work for which he earned a Pulitzer Prize in 1962. In fact, a survey of all the dissertations, articles, interviews, and books written about Robert Ward shows that the vast majority of these studies focus on his most famous opera. His choral works, though they comprise some of Ward's most expressive work, have received little attention. Ward's works show a deliberate use of symbols and allusions. While this use is far from an innovative concept in composition, Ward distinguishes himself with a consistent and purposeful application of these devices establishing an unmistakable interweaving of text, composition, and context. This study examines several of Ward's short choral compositions as they relate to the composer's use of symbols and allusions. Comparisons are made to Ward's use of these devices in his operatic works as a means of determining the consistency of their use throughout his vocal works. Chapter 1 looks at the composer's background, influence, and experience as to their impact on his approach to composition. Chapter 2 lays the groundwork for the discussion of symbols and allusions in music by establishing their basis and function in literary arts in general. The final chapter explores Ward's use of symbols and allusions in four of his choral works.

This thesis seeks to analyze the Homeric allusions in the Aethiopica with an inclusive definition to explore Heliodorus’ authorial motives. To approach this project, I use textual analysis to avoid arguments rooted in assumptions of the historical context of the novel, about which we know almost nothing. I explore how links to Homer’s Odyssey are visible within the structural organization of the text and the content of the text. I also explore how the content of the novel reproduces actions and compatible settings of Odyssean characters, which therefore qualifies Heliodorus’ characters in a metaliterary commentary with Homer’s archaic epic poem. The division of Odyssean actions and traits depicted in Heliodorus’ characters introduce a new addition to the heroic legacy established by Homer and distances the hero from Greek identity. I conclude that Heliodorus’ adherences to epic conventions and departures thereof inform the subtextual commentaries conveyed in the Aethiopica.

Thesis (Revise). / Includes bibliographical references (p. [339]-349) and index.

Thesis (Revise). / Includes bibliographical references (p. [339]-349) and index.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: An allusion in the source text poses a serious problem for a translator. A relevance-theoretic approach would define an “allusion” as the re-use of language from a prior text such that, by calling the prior text to mind, an implied reader is aided in his/her attempt to plausibly reconstruct the alluding author’s meaning. For this to happen, the reader’s “context” in the relevance-theoretic sense must include the source of the borrowed language. To explicate the connection for the reader, however, can thwart the pragmatic effects of an allusion, since these often require maintaining some “openness” in the text; hence the translator’s dilemma. Isaiah 40-55 (Deutero-Isaiah or DtI), a richly allusive text, furnishes an ideal test case for a descriptive translation study (DTS) focused on this source-text feature. This investigation of eleven Portuguese versions will attempt to determine whether and how the translators’ decisions with regard to DtI’s allusions might be accounted for. Source-oriented approaches to translating often tend toward lexical concordance; therefore, these approaches—in theory—should tend to preserve instances of vocabulary that is shared between an alluding- and an alluded-to text. Target-oriented approaches (e.g. “functional equivalence”) are more interested in contextual clarity than lexical concordance; these could then be expected to produce target texts that are less allusive. Increased sophistication in translation theory should result in more sophisticated approaches to allusion in translating. Collaborative and coordinated translation projects should produce more allusive target texts than those whose procedures are more piecemeal. The investigation reveals less correlation than expected between general source-orientedness and allusiveness in the target text. Target-oriented approaches—e.g., classical functional equivalence—do tend to produce less allusive target texts. In addition, there is a correlation between a translation project’s organization and the perspicuity of allusion in the target text, but it is mostly negative. That is, projects that do their work piecemeal produce unallusive versions, but more collaborative and coordinated projects still leave many inter-textual resonances inaudible. It appears that translations will preserve this source-text feature in a way that tends toward randomness unless the perspicuity of inter-textual allusions is articulated as a conscious value in translating. Above all, “allusion-friendly” translating will require target cultures that want more allusive Bibles. Translators, as “model readers” themselves, will need to recognize the presence and function of allusions in the source text and make the attempt to represent these in translation a priority. / AFRIKAANSE OPSOMMING: Sinspeling in ’n bronteks kan aansienlike probleem skep vir vertaler. Relevansie-teoretiese benadering definieer “sinspeling” as die hergebruik van taal uit vroeëre teks tot so mate dat veronderstelde leser, deur die vroeëre teks voor die gees te roep, in sy/haar poging om die sinspelende outeur se bedoeling te rekonstrueer, gesteun word. Om dit te bewerkstellig, moet die leser se “konteks,” in die relevansie-teoretiese sin van die woord, die bron van die ontleende taaluiting insluit. Om die verband aan die leser te verklaar kan egter die pragmatiese effekte van sinspeling teenwerk, aangesien sinspeling as sulks dikwels die handhawing van mate van “openheid” in die teks vereis; vandaar die vertaler se dilemma. Jesaja 40-55 (Deutero-Jesaja of DtJ), teks met baie gevalle van sinspeling, bied die ideale geleentheid vir beskrywende vertalingstudie (BVS) wat op hierdie brontekskenmerk fokus. Hierdie ondersoek van elf Portugese vertalings sal poog om te bepaal of en hoe die vertalers se vertaalkeuses met betrekking tot DtJ se sinspelings verklaar kan word. Bron-georiënteerde benaderings tot vertaling neig dikwels tot leksikale konkordansie; daarom behoort hierdie benaderings – in teorie – te neig om die gevalle van woordeskat wat tussen sinspelende en opgesinspeelde teks gedeel word, weer te gee. Teiken-georiënteerde benaderings (bv. “funksioneel-ekwivalente benaderings”) stel meer in die verstaanbaarheid van uitdrukkings in die konteks waarin dit gebruik word as in leksikale konkordansie belang; van hierdie vertalings sou dan verwag kon word om teikentekste op te lewer wat minder sinspelend is. Toenemende sofistikasie in vertalingsteorie behoort tot meer gesofistikeerde benaderings tot sinspeling in vertaling te lei. Gesamentlike en gekoördineerde vertalingsprojekte behoort meer sinspelende teikentekste voort te bring as die waarvan dit nie die geval is nie. Die ondersoek openbaar minder korrelasie as wat verwag is tussen algemene brongeoriënteerdheid en sinspeling in die teikenteks. Teiken-georiënteerde benaderings neig wel om minder sinspelende teikentekste te produseer. Daar is boonop korrelasie tussen vertalingsprojek se organisasie en die duidelikheid van sinspeling in die teikenteks, maar die korrelasie is meestal negatief. Dit wil sê, projekte wat hul werk stuksgewys doen, produseer niesinspelende weergawes, maar meer gesamentlike en gekoördineerde projekte laat steeds baie intertekstuele resonansies nie tot hulle reg kom nie. Dit blyk dat hierdie brontekskenmerk slegs op ‘n lukrake wyse in ’n vertaling tot sy reg sal laat kom, tensy die duidelikheid van intertekstuele sinspelings as bewuste waarde in die vertaling uitgespel word. Bowendien, “sinspelingsvriendelike” vertaling sal teikenkulture vereis wat meer sinspelende Bybels wil hê. Vertalers, as “modellesers” hulself, sal die teenwoordigheid en funksie van sinspelings in die bronteks moet herken en die poging om hierdie in vertaling te verteenwoordig prioriteit maak.

Cette thèse est consacrée à l’insertion des discours directs dans les Histoires d’Hérodote, et notamment à la manière dont l’historien articule la transition entre le discours d’un personnage et son propre récit. L’articulation discours-récit est prise au sens large, puisque l’étude tient compte non seulement des chevilles qui dénotent le début et la fin du discours, mais aussi d’autres phénomènes tels que la distinction entre le style autorial et celui des discours, l’emploi des apostrophes, la répartition de l’information et entre le discours et le récit, etc. La frontière qui sépare le discours et le récit étant une des plus délicates, sa démarcation demande une grande finesse de la part de l’auteur, qui doit savoir l’indiquer sans pourtant rompre la continuité de son texte, et adapter la répartition de l’information à ses besoins narratifs, ainsi qu’à la logique de chaque épisode. Après une introduction générale, la grande partie du travail consiste en un commentaire de l’ensemble des discours directs des Histoires, ainsi que des oracles et inscriptions cités par Hérodote. L’approche de ce commentaire est principalement stylistique. / This thesis examines the insertion of direct speech in Herodotus’ narrative, and in particular, the ways in which the transition between the two may be demarcated. The articulation of the boundary between direct speech and narrative is understood in a wide sense, comprising not only the phrases that mark the beginning and the end of the speech, but other elements as well (such as distinction between the style adapted to authorial narrative and that adapted to the characters’ speeches; the use of addresses; the distribution of information between the speech and narrative; etc.). The boundary between speech and narrative is of the most delicate kind and the author is obliged to be very careful when denoting it: on the one hand, he must indicate clearly the beginning and the end of a character’s speech, without endangering at the same time the continuity of his own text. The distribution of the information between the authorial narrative and the characters’ speeches also demands much attention, for the logical structure of the episode depends on it. After a general introduction, the bulk of the work consists of a commentary of all the direct speeches, as well as of the oracles, letters, and inscriptions that Herodotus quotes. The approach is mainly a stylistic one.

Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0425. Adviser: William Moersch. Includes bibliographical references (leaves 194-195) Available on microfilm from Pro Quest Information and Learning.

Texte remanié de: Th. doct.--Litt. latine--Paris 4, 1994. / En appendice, choix de textes de l'Antiquité gréco-latine. Bibliogr. p. 339-349. Index.

Christopher Rouse (b. 1949), winner of the Pulitzer Prize for his Trombone Concerto (1993) and a Grammy award for his Concerto de Gaudi (1999), has come to the forefront as one of America's most prominent orchestral composers. Several of Rouse's works feature quotations of and strong allusions to other composers' works that are used both rhetorically and structurally. These borrowings range from a variety of different genres and styles of works, from Claudio Monteverdi's L'incoronazione di Poppea to Jay Ferguson's "Thunder Island." Due to the more accessible filtering and funneling methods of musical borrowings (proliferation of mass media), the weighty discourses attached to them, and their variety of functions (critiquing canons, engaging in an allusive tradition, etc.), quotation has become elevated to the most prominent of musical actors that trigger narrative listening strategies, which in turn have a stronger role in the formation of narratives about music as well as narratives of music. The primary aim of this study is to adapt and apply more recent methodological narrativity frameworks to selected instrumental compositions by Rouse containing quotations, suggesting that their manner of insertion, their method of disclosure, and their referential potential can benefit from being examined through various narrative lenses as well as reveal their participation in certain roles of narrative functions. For this study, I have chosen six instrumental works by Rouse for examination - the Violoncello Concerto, Symphony No. 1, Iscariot, String Quartet No. 2, Seeing, and Thunderstuck. On a more specific level, the aim of this study is to investigate the manner, meaning, and motive of the quoted material in a select group of Rouse's compositions through various narratological lenses. To accomplish this, I intend 1) to establish a context for understanding the musical borrowing procedures of Rouse; 2) to explore how works containing quotations can be examined through various narrativity frameworks; 3) to inspect the ways in which borrowings can enhance or clarify the structural design and stylistic musical features for which he is known; 4) to investigate the various meanings that are generated from his borrowings; 5) to consider the extent to which Rouse's musical borrowings comment on various discourses, and 6) to examine the psychological needs of certain narratives triggered by quotation and the various questions they pose. This study does not attempt to systematically unify the works of Rouse that contain borrowings under a kind of "grand theory" in narrativity or borrowing studies, but rather to examine each work individually, noting the particular roles that borrowings play in regards to narratives of and about music. Fundamentally, I claim that narrativizing about music is a foundational psychological and social impulse, aiding to serve our curiosities about music's otherness qualities. Using both narratives of and about music to frame analyses, I hope to make a small contribution to the growing methodological frameworks of narrativity by featuring works containing borrowings by one individual composer, suggesting that other comprehensive approaches in borrowing studies can used for future composers.

See file 01 / Art History, Visual Arts & Music / (M.A. (Visual Arts))