This thesis was written to examine Goethe's efforts to emulate the Greeks and write in their spirit. Works most helpful in the study were Humphry Trevelyan's Goethe and the Greeks, Kenry Hatfield's Aesthetic Paganism in German Literature, Eliza Butler's The Tyranny of Greece over Germany, and the works of Goethe which show his relationship with the Greeks.

The thesis deals with the recovery of benefits that have been transferred under illegal or immoral transactions, in particular from the perspective of the law of unjustified enrichment. The rules governing this area of law in all the legal systems that are studied originate in classical Roman law, which principally granted a remedy for the recovery of benefits conferred under a tainted cause (the so-called <i>condictio ob turpem vel iniustam causam</i>). Only where both parties were involved in an immoral transaction was recovery barred, according to the maxim <i>in pari delicto potior est possidentis</i>. However, modern law usually applies the bar to recovery not only to immoral but also to illegal transactions. This extension of the bar, as well as its strict legal consequence of completely barring recovery, can lead to overly harsh results. The comparison of two civilian legal systems, Germany and Italy, will demonstrate modern civilian approaches on how to mitigate the strict consequences of the bar. The study of English law identifies a very different approach to the solution of the same problem. The law of the mixed legal system of Scotland started from a civilian basis in this area. However, it subsequently came under the influence of the common law, which received only the bar to recovery, and developed it into a principle of non-recovery in cases of illegality. The thesis argues that it is undesirable to follow the common law influences in the Scots law of unjustified enrichment. Scots law should rather develop its civilian roots and proceed on the assumption that transfers made under immoral and illegal transactions are recoverable in principle. It is also argued that Scots law has sufficient authority to restrict the <i>pari delicto</i> rule to its original scope and thereby apply the bar to recovery only to cases of mutual turpitude.

This textual and linguistic commentary, which is the first of any kind in English on the Historiae of Quintus Curtius, discusses the uncertainties presented by the text as transmitted, evaluates the solutions offered by previous scholars and suggests some new emendations. Curtius' grammar, syntax and linguistic usage are examined in comparison with the standards accepted before the time of Livy and the developments thereafter. His expression and style are compared with those of other authors, with special reference to Livy and Curtius' near-contemporary, Seneca the Younger. Literary analogies with other authors in all periods are given and similarities in thought and style are also noticed. Curtius' treatment of his subject-matter is considered in the light of the parallel accounts of Arrian, Diodorus Siculus, and in some places Plutarch and Justin, and questions of historical fact are discussed where they arise from the text of Curtius himself. Two appendices are included, of which the first deal with the dispute over the date of composition of the work, and Curtius' identity. It presents the case for identifying the Princeps referred to at X 9.1-6 with Claudius and suggests that Curtius composed the Historiae during the early years of that emperor's reign. The second appendix deals with our author's vocabulary and his use of participles and infinitives, and demonstrates some aspects of his contribution to, and place within, the evolution of the Latin language since the time of Livy. The apparatus criticus is derivative; the commentary, except insofar as every such work must take account of previous scholarship, is entirely original.

The thesis comprises a text of the Querolus based on all the extant manuscripts, with an apparatus criticus and translation. The text is preceded by an introduction, and followed by a textual, linguistic, stylistic and literary commentary, a bibliography, and an index uerborum. The introduction considers: the history and interrelations of the manuscripts; previous editions and translations; author and dedicatee; place and date of composition; references to contemporary history and thought; genre, characters and plot; sources and Nachleben; and rhythmic structure. An edition and commentary of the Lex Conuiualis, which occurs in all the complete manuscripts of the Querolus, is also provided.

No description available.

This study considers anew the central question of Herodotus’ relationship with literary and textual sources. It examines how Herodotus comes to define his own work in a context where many artists (both narrative and visual) are seeking to accumulate, delineate, and ultimately dictate cultural memory. Rather than applying traditional Quellenforschung, my analysis centres on examining significant intertextual and allusive relationships in his work. In each chapter, I address the nature of Herodotus’ engagement with certain textual rivals/genres, namely early prose writers, inscriptions, poets (expecially Homer, Simonides, Aeschylus, Sophocles), and oracles. From this emerges a highly nuanced engagement with myriad texts in the Histories (principally: as authoritative voices; as persuasive evidence; and as voices for disputation). Such engagement furnishes considerable authority for the writer of the Histories, to the extent that he provides a superior view of the past, compared to the more limited, partisan perspectives offered by his textual rivals. My study reinforces the salient point that Herodotus is no historian in any modern sense of the word; his interaction with other literary traditions does not appear in a way that is expected of an academic monograph. Nevertheless the evidence for his engagement with a wide and diverse group of texts—both contemporary and non-contemporary—clearly militates against the consensual view that Herodotus was working with predominantly unfixed, oral traditions. Indeed, through this interplay with other literary works Herodotus most clearly defines for the reader his own unique intellectual achievement: the invention of historiography.

Current scholarship in Virgil's Aeneid includes the search for subtexts and subthemes and also investigation into father/son relationships. While there has been examination of maturation motifs in Greek myth and legend, there has been no serious exploration of initiatory themes in the Aeneid with regard to Ascanius. The focus of this dissertation is a study of the initiatory pattern itself, its manifestations in ancient and Classical Greek literature and culture, Republican Roman practices which reflect this motif, and then an analysis of these influences in the portrayal of the growth and development of Ascanius. In addition, there is a brief study of Euryalus, Pallas, and Camilla as they undergo the initiatory process and reasons for their failures. / In the first three chapters I explore the origins of rites of passage, associated with fertility and marriage ceremonies, and their evolution into initiations into adulthood, studying especially the Greek and Roman cultures, for whom initiations into adulthood were part of everyday life, expected and assumed. / In Chapter Four I establish the initiatory process from the childhood to the adulthood of Ascanius. The first of three steps, separation of the child from his mother, occurs when Ascanius and the Aeneadae flee from the burning Troy; in the second stage, the margin or instructional period, Ascanius undergoes a journey, learns the lore, traditions, and religion of his people, endures dangers, and learns the skills of warfare through the hunt; finally, Ascanius achieves adult status in the eyes of the heroic/warrior community by his leadership in council and the slaying of an enemy. / The similarities between Ascanius and Euryalus, Pallas, and Camilla are considered in Chapter Five with an eye toward the important differences which cause all three of the latter to fail, and die, in their attempts to achieve adult status. Their failure, not without considerable literary and historical precedent, serves as a foil to the success of Ascanius as he joins the adult world and the heroic community. / Source: Dissertation Abstracts International, Volume: 56-04, Section: A, page: 1343. / Major Professor: W. W. deGrummond. / Thesis (Ph.D.)--The Florida State University, 1995.

<p> This dissertation heeds archetypal psychologist James Hillman&rsquo;s call for depth psychology to &ldquo;also be a depth aesthetics&rdquo; by considering Dionysos as an archetype of aesthetic experience. We respond affectively to the sensations of our interpenetrating everyday world of bodies, including our imaginal and ideational perceptions. Dionysos has been studied as an archetype of intoxication, indestructible life, madness, nature, bodily excitement, eroticism, festive inclusivity, theater, and liberation. This study reevaluates these qualities and more to discover how Dionysos and multiple figures of his <i>thiasos</i> create an archetypal background for the phenomenon of aesthetic experience. While Psyche serves Aphrodite, Dionysos serves psyche and may be considered a more comprehensive archetypal figuration for aesthetic experience than the goddess of Beauty. </p><p> Notoriously epiphanic Dionysos traverses all realms, but is most beloved of the earthly between&mdash;his ecstasy turned on, sustained by, and expressed via the aesthetic dimension. For Nietzsche, the profound surfaces of this embodied life are divine, a belief echoed in the work of Hillman, David L. Miller, and the philosophies of Phenomenology, Alfred North Whitehead, and the contemporary Speculative Realists, among others. In varying ways, all suggest the aesthetic dimension <i>is</i> the causal dimension&mdash;the inspired starting condition of reverie and cognition. This study suggests reading the aesthetics of daily life as &ldquo;concrete poetry,&rdquo; a term repurposed here as a metaphor for the concentrated instant in which an entire mythos is given in the very medium of an image. The &ldquo;archetypal&rdquo; is thus not defined herein as a first principle, in the universal or originary sense, but, more simply, as any particular event that deeply and experientially impresses upon us, creating an insta-mimesis of reactivity and recreation. Detailed evidence for this study&rsquo;s broad thesis is given historically, conceptually (through philosophy, art theory, and depth psychology), mythopoeic- and mythologically, and with support from the aesthetic realm of the arts, including, in its conclusion, examples from twentieth-century artists, most primarily the Dadaists, Marcel Duchamp, and Dennis Hopper. </p><p>

Many current schools of compositional thought evidence an interest in the integration and collision of different methods of harmonic organisation. Creating strategies that aid composers in incorporating many dramatically different methods of harmonic organisation in individual compositions will help lead to new, exciting music and ideas - the methods leading to the generation of such strategies are a central concern of this thesis. Composers can create pieces of music that engender dramatically different states of being and relate seemingly unrelated musical ideas - the manipulation of many methods of technical organisation will lead to the successful implementation of such shifts, the thesis also addresses this. A major difficulty in the furtherance of new music relates to how composers can make use of more unusual compositional techniques in contexts where performance practicalities could inhibit the realisation of a piece - working closely with soloists and ensembles lends a crucial insight into appropriate instrumental and vocal writing, a third important aspect of this thesis. In conclusion, this thesis evidences that it is absolutely possible to relate seemingly distant musical ideas in individual compositions in service of an effective, practical composition. There is a tremendous, exciting wealth of powerful musical ideas to draw upon; such ideas can be found in the collision and integration of dramatically different musics.

Thesis (M.M.)--Boston University