Thesis (M.A.) -- Reformed Theological Seminary, Virtual Campus, 2006. / Includes bibliographical references.

Thesis (M.A.)--Victoria University of Wellington, 2008. / Includes bibliographical references.

The theory of capillarity is an organic metaphor invoked to explore the role of network communications as a vehicle for education in a healthy society. Capillarity is offered as a theory in two parts: a mechanism for distribution and a method for engagement. Capillarity seeks to build an architecture that reflects radical humanism's emphasis on access and inclusion as a vehicle for classical humanism's emphasis on the individual expansion of potential and consciousness. The technical instrument whereby this program of humanist education may be deployed is mLearning

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The thesis of this study is that Classical studies at the University of Malawi, Chancellor College, has been taught with almost no reference to its African context, yet the Classical world, as Ogilvie (1979:2) observed ‘is far removed in time, geography, and philosophy from the world of Africa'. Classics in Malawi is currently taught as in the West, with which it has immediate ties, but if there are to be meaningful gains on the part of students learning Classics in Malawi, we need to contextualise its teaching. The purpose of this study was to identify ways in which Classics teaching at undergraduate level in Malawi might be strengthened in order to make the learning of Classics more meaningful and relevant to the Malawian context, by bridging the gaps between Classical Antiquity and African cultures. The comparative approaches explored will facilitate revision of the University of Malawi Classical Studies curriculum to fulfil the needs and interests of Malawians with the main purpose of contextualising Classical Studies in Malawi. The thesis consists of five chapters which deal with issues relating to Classics teaching in Malawi, namely: the evolution of Classical Studies in Malawi and its challenges; the need to change with the times; views of Latin/Classics teachers about Latin teaching at secondary level; attitudes and perceptions of undergraduate Classics students at Chancellor College to Classics, their perceptions about skills and Classics teaching in general; and views from Classicists from other universities on Classics teaching in general. The main comparative element in the thesis draws on analysis of similar issues in a wide variety of other institutions, including in the UK, the USA, Asia and Africa. Literature relating to Classics pedagogy and Comparative Education approaches, specifically Bereday's Model, has been reviewed. In addition, Classical Reception theory and Social Constructivism theory, particularly with regard to pedagogy, have been surveyed. The study used purposive sampling. Five types of samples and their corresponding data capturing instruments were used, broken down in the following categories: two types of interviews (one involving Malawian Latin or Classics teachers at secondary level, and the other universities' Classics lecturers); review of various documents of international universities' Classics programmes; lecture observations for Classics; and student questionnaire interviews administered to University of Malawi Classics students. The research was a mixed-method design, combining both quantitative and qualitative data analysis, but overall, the study was more qualitative than quantitative. Quantitative data were analysed using descriptive statistics and qualitative data were analysed using the thematic analysis method. These analyses were followed by discussions of the findings of both quantitative and qualitative data. The major conclusions and implications of the study point to the need for a curriculum review of all Classics courses to ensure that Classics becomes more relevant in the Malawian context.

This thesis brings to light evidence for the circulation and first-hand reception of Aristotle's Poetics in sixteenth-century England. Though the Poetics upended literary thinking on the Continent in the period, it has long been considered either unavailable in England, linguistically inaccessible to the Greekless English, or thoroughly mediated for English readers by Italian criticism. This thesis revisits the evidentiary basis for each of these claims in turn. A survey of surviving English booklists and library catalogues, set against the work's comprehensive sixteenth-century print-history, demonstrates that the Poetics was owned by and readily accessible to interested readers; two appendices list verifiable and probable owners of the Poetics respectively. Detailed philological analysis of passages from Sir Philip Sidney’s Defence of Poesie proves that he translated directly from the Greek; his and his contemporaries' reading methods indicate the text circulated bilingually as standard. Nor was Sidney’s polyglot access unusual in literary circles: re-examination of the history of Greek education in sixteenth-century England indicates that Greek literacy was higher and more widespread than traditional histories of scholarship have allowed. On the question of mediation, a critical historiography makes clear that the inherited assumption of English reliance on Italian intermediaries for classical criticism has drifted far from the primary evidence. Under these reconstituted historical conditions, some of the outstanding episodes in the sixteenth-century English reception of the Poetics from John Cheke and Roger Ascham in the 1540s to Sidney and John Harington in the 1580s and 1590s are reconsidered as articulate evidence of reading, thinking about, and responding to Aristotle's defining contribution to Renaissance literary thought.

A presente tese aborda, enquanto importante conteúdo da pedagogia confucionista, a poesia clássica do Império do Centro, posteriormente denominado China, no Ocidente, em particular a primeira seção do Clássico dos Cantares, em dois aspectos: primeiro, as características estruturais do caractere chinês, o ideograma, e do texto em chinês clássico e arcaico como recurso estético a ser incorporado na tradução de poesias clássicas para o português, aqui chamada de Estudos, tendo como interlocutores teóricos os trabalhos de reimaginação ou transcriação da poesia clássica chinesa de Haroldo de Campos, inspirado pelas ideias seminais de Fenollosa; a teoria pictórica de Shitao (1642-1717), do pintor e erudito da dinastia Song, e os comentários de seu tradutor Pierre Ryckmans; o conceito de texto de Umberto Eco; e a análise da linguagem dos Cantares, de Dobson. O segundo aspecto refere-se à Natureza como principal temática dos poemas dos Cantares como representativa de um importante elemento constitutivo da educação dos eruditos, ou letrados, chineses, uma casta que governou o Império Chinês cerca de dois mil anos, evidenciando uma intensa abstração do mundo natural, seja na poesia ou na pintura. Essa educação estética pela qual os que exerceriam funções políticas deveriam passar é permeada por uma atitude ética em que a natureza e a simplicidade das relações humanas são sua principal utopia. O cancioneiro popular, compilado entre os séculos XI e VII a.C., simbolizavam um mundo natural, distante e almejado ao mesmo tempo, e que veio se tornar um valor implícito às grandes linhas do pensamento clássico chinês, como o confucionismo e o taoismo. Ambos os aspectos, o texto e o contexto, fundamentam e contextualizam os estudos de tradução apresentados. / The present thesis discusses, as an important content of Confucian pedagogy, the classical poetry of the Empire of the Center, later denominated \"China\", in the West, in particular the first section of the Classical of Songs, in two aspects: first, the structural characteristics of the character Chinese, the ideogram, and the classic and archaic Chinese text as an aesthetic resource to be incorporated into the translation of classical poetry into Portuguese, here called \"Studies\", having as theoretical interlocutors the works of \"reimagining\" or \"transcreation\" of classical Chinese poetry by Haroldo de Campos, inspired by the seminal ideas of Fenollosa; the pictorial theory of Shitao (1642-1717) by the Song Dynasty painter and scholar, and the comments of his translator Pierre Ryckmans; the concept of text by Umberto Eco; and Dobson\'s analysis of the language of the Songs. The second aspect refers to Nature as the main theme of the poems of the Songs as representative of an important constitutive element of the education of scholars, or literate, Chinese, a caste that ruled the Chinese Empire about two thousand years, evidencing an intense abstraction of the natural world, whether in poetry or painting. This \"aesthetic education\" by which those who exercise political functions should pass is permeated by an ethical attitude in which the nature and simplicity of human relations are their chief utopia. The popular songbook, compiled between the 11th and 7th centuries BC, symbolized a natural world, distant and longed for at the same time, and which became an implicit value to the main lines of classical Chinese thinking, such as Confucianism and Taoism. Both aspects, the text and the context, base and contextualize the presented translation studies.

Cette thèse s’intéresse à l’évolution du rapport à l’histoire et de la conscience historique dans la société canadienne de la première moitié du XIXe siècle et propose une analyse métahistorique de deux principaux corpus de sources : le matériel pédagogique employé dans les collèges classiques, ainsi que les ouvrages historiographiques et politiques marquants pour l’élite canadienne, des réflexions du politicien Denis-Benjamin Viger au Rapport Durham et aux écrits de William Smith, Michel Bibaud et de François-Xavier Garneau. En analysant ces sources à la lumière d’un outillage théorique issu de l’historiographie de la représentation du temps, je propose une relecture de la constitution d’une conscience historique nationale au Canada français. Je démontre que la « nationalisation » de l’histoire est un phénomène graduel qui s’est échelonné sur l’ensemble des trois premiers quarts du XIXe siècle. Si l’histoire nationale a mis du temps à s’imposer, c’est parce que la conscience historique du monde intellectuel canadien au tournant du XIXe siècle était modelée sur les principes philosophiques universalistes de l’humanisme et du christianisme. Loin d’être spécifique aux Canadiens, cette mutation de la représentation de l’histoire s’insère dans un large mouvement occidental qui a été abondamment observé et commenté par l’historiographie. Enchevêtrées dans une histoire commune avec la « disciplinarisation » de l’histoire, la catégorisation des peuples et leur projection dans le temps n’est ni une évidence ni une nécessité, mais plutôt le produit d’une évolution culturelle partagée à travers le monde atlantique. / In this thesis, I discuss the evolution of time experience and historical consciousness in Canadian society of the first half of the nineteenth century and propose a metahistorical analysis of two main corpora of documents : the educational material used in classical colleges, and a number of significant historiographical and political publications for the Canadian intellectual elite, from Denis-Benjamin Viger’s reflections to the Durham Report and to the writings of William Smith, Michel Bibaud and François-Xavier Garneau.By analyzing these historical documents with the use of conceptual tools inspired by the time representation historiography, I suggest a reinterpretation of the advent of a national historical consciousness in French Canada. I demonstrate that the “nationalization” of the past is a gradual phenomenon that spawned over the first three quarters of the nineteenth century. If national history was not prominent around 1800, it is because Canadian intellectuals interpreted the past with the theological principles of Christianity and the universalist philosophy of intellectual humanism. Unspecific to Canadians, this historical representation evolution was observed and commented upon by a rich occidental historiography. Entangled with the disciplinarization of history as a historical phenomenon, the categorization of the Nation and its projection in the past is neither a certainty, nor a necessity, but rather the product of a cultural evolution shared in the Atlantic World.

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