The wind octet was a popular ensemble of the classical period. In 1782, the Viennese Emperor formed a wind octet which specialized in playing opera arrangements. This music was used primarily as a form of background entertainment for dinners. This guide analyzes and compares the works of several well-known arrangers from the classical period in order to demonstrate arranging styles of the time. The arrangers of the period were often the performers of these various wind octets who were writing specifically for the players in their own ensembles. The style of Mozart’s original wind music is also discussed, in contrast to the arrangements of his works made by others. This guide is intended for serve performers of today as a tool to learn the art of arranging in an historical style. Idiosyncrasies of the classical-period wind instruments are discussed, as they relate to the style of wind arranging. The role of the contemporary arranger is compared with that of the classical period, and the case is made for the need for more contemporary arrangements of classical works using period arrangers as models.

No description available.

No description available.

Les historiens modernes admettent qu’il y avait dans le monde grec de l’époque classique une grande variété dans la manière de vivre sa vie religieuse. Ainsi, les études des hellénistes sur la religion grecque se sont beaucoup portées sur des faits religieux particuliers : sur la religion à l’échelle de cités, de régions, ou encore sur des faits religieux minoritaires tels que la magie, l’orphisme et le pythagorisme, voire sur la religion à l’échelle d’individus comme Platon. La notion de « norme » religieuse et, par conséquent, de ce qui ne fait pas partie de la norme, suscite également un intérêt, de même que celle d’altérité. Une étude sur les différences religieuses et leur appréciation en Grèce à l’époque classique se conçoit comme le prolongement de ces travaux, en cherchant notamment à créer un lien entre eux. La question principale qui est posée est celle du rapport à l’autre en matière religieuse. Comment les Grecs pensaient-ils et se comportaient-ils lorsqu’ils se trouvaient confrontés à une autre manière de penser et d’agir que la leur en matière de religion ? Étaient-ils indifférents, curieux, intéressés, méprisants, violents ? Il faut également rechercher les causes de telles attitudes : pourquoi pensaient-ils et agissaient-ils comme ils faisaient ? L’étude porte donc sur de nombreux thèmes – de la religion des Barbares à celle du voisin le plus proche, en passant par celle des Grecs d’autres cités – selon un angle particulier. Il est question d’étudier la différence, la pluralité des expériences religieuses et la rencontre entre différentes expériences religieuses, entre diverses manières de penser et de pratiquer la religion. Cela revient à analyser le frottement entre plusieurs systèmes religieux, entre plusieurs normes religieuses ou entre un phénomène religieux minoritaire, voire individuel, et la norme religieuse telle qu'elle peut être définie par ailleurs. / Modern historians admit that there was a great variety in the Greek world of the classical period in the way one lives one's religious life. Thus, studies on the Greek religion have focused much on particular religious facts: on religion at the level of cities, regions, or even on minority religious facts such as magic, orphism and pythagorism, or even on religion of individuals like Plato. The notion of a religious "norm" and, therefore, of what is not part of the norm, is also of interest, as is the notion of otherness. A study on religious differences and their appreciation in Greece in the classical period is conceived as an extension of these works, seeking in particular to create a link between them. The main question that is asked is that of the relationship with the other in religious matters. How did the Greeks think and behave when confronted with a different way of thinking and acting than their own in matters of religion? Were they indifferent, curious, interested, contemptuous, violent? We must also look for the causes of such attitudes: why did they think and act as they did? The study therefore focuses on many themes - from the religion of the Barbarians to that of the nearest neighbour, including that of the Greeks in other cities - from a particular angle. It is about studying the difference, the plurality of religious experiences and the encounter between different religious experiences, between different ways of thinking and practising religion. This amounts to analysing the friction between several religious systems, between several religious norms or between a minority or even individual religious phenomenon and the religious norm.

During the late 19th century, a number of large marble eyes were discovered near the Athenian naval facilities at Zea. Although initially published as the eyes of ancient Greek warships, many scholars have doubted the validity of this attribution. A range of hypotheses have been presented in attempts both to discredit the notion that they are ship eyes, and to re-classify these objects. Recent excavations of a Classical Period merchantman at TektaŸ Burnu uncovered a pair of marble discs that again raise questions relating to the identity of the marble eyes from Zea. A review of alternative hypotheses relating to the identity of these objects based on textual, archaeological, and representational evidence, coupled with technical analyses of their construction, form, and decoration, leads to the conclusion that the marble eyes discovered at Zea, as well as the objects from TektaŸ Burnu, adorned the bows of ancient Greek ships between the 5th and the 3rd centuries BC. Evidence for the function of these objects is found in the works of Greek authors who show that the eyes of ancient ships marked the presence of a supernatural consciousness that guided the ship and helped to avoid hazards. Studies of eye representations on Archaic and Classical Greek domestic articles and parallels in architectural decoration suggest that ship eyes may have also worked as apotropaions to counter forces such as envy. As early as the 5th century BC Greek and Latin authors attest to a fear and understanding of envy's destructive power, which was believed to attack through the actions of both gods and mortals. Theories related to the use of eyes as apotropaions that could counter envy are presented based on analysis of material from the Archaic and Classical Periods. Links are made between Hellenistic and Roman mariners and their fear of this force, which was expressed in their use of devices that functioned to protect them from its ill effects. It is possible that ship eyes in ancient Greece served as both epiphanies and apotropaions used to counter envy.

No description available.

by Krzysztof Sliwa. / Typescript. / Ph. D. Florida State University 1997 / Includes bibliographical references. / Text in Spanish; abstract in English.

This is a study of the Byzantine novel or Milesian tale in Spain during the 17th century. It contains a brief comment about the origin of this literary mode and the significance of the two adjectives Byzantine and Milesian. Two novels of the Hellenistic originators of this form are discussed. Four Spanish Byzantine novels are considered in chronological order, with summaries and analyses, with particular attention to their similarity to or modification of the prototypes. It is concluded that this particular aspect of 17th century Spanish fiction is a deliberate imitation of the Hellenistic models, modified by the Spanish authors by the addition of original and contemporary ideas. No longer a popular genre, the Byzantine novel made a significant contribution to the development of the modern Spanish novel.

The Old Testament story of Joseph is common to the Christians, Muslims, and Jews of medieval Spain, and each group drew upon its own and other exegetical traditions to produce literary versions of the biblical tale. After the expulsion of the latter two groups, several Hispanic playwrights, including such notable figures as Lope de Vega, Pedro Calderón de la Barca, and Sor Juana Inés de la Cruz, continued to produce theatrical versions of the Josephine legend throughout the Golden Age. Most of these plays attained a great deal of popularity. In spite of the importance of these works in early Spanish culture, recent scholarship has paid comparatively little attention to them. The present study is meant to remedy that situation. By drawing upon the theoretical concepts of Edward Said, Amin Maalouf, Jonathan Z. Smith, and others regarding identity and Otherness, I demonstrate how each adaptation of the story constructs or evaluates religious and national identity. Medieval prose and poetic adaptations written by representatives of each of the three monotheistic faiths reveal an attempt to maintain the boundaries of religious identity within a multicultural context. Sixteenth-century theatrical versions deal with the post-expulsion identity crisis by proposing a more inclusive attitude towards New Christians. Finally, under the Baroque influence of the late seventeenth century, adaptations of the Joseph story become increasingly metatheatrical. This literary self-reflection serves to interrogate the nature of identity and reveal its constructedness. Given the importance of identity issues in current scholarship, this analysis suggests the need for increased critical attention to be paid to the Spanish Josephine tradition. / text

No description available.