On croyait l’élégie disparue après l’apogée qu’avait connue le genre pendant le Romantisme et après les attaques dont il avait été la cible, les poètes « modernes » ayant choisi de s’affirmer contre les « excès » du lyrisme romantique dont l’élégie était devenue la caricature. Le lyrisme et la poésie de la première personne sont eux-mêmes restés au centre des attaques et des moqueries durant tout le XXe siècle. C’est pourtant à une renaissance du genre que l’on assiste, timide et progressive dans la première moitié du XXe siècle, puis à une véritable recrudescence dans la seconde moitié du siècle. Les noms des plus grands poètes s’associent aux titres de recueils d’élégies : outre les très célèbres Élégies de Duino de Rilke (1923), ce sont par exemple les Élégies de Juan Ramón Jiménez (1908), les Élégies et satires de Karyotákis (1927), les Hollywoodelegien (1942) et les Buckower Elegien (1953) de Brecht, les Élégies de Pierre Emmanuel (1940), de Jean Grosjean (1967), les Élégies d’Oxópetra d’Elýtis (1991), ou encore les trois grands recueils posthumes de Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). L’élégie, née au VIIe siècle avant J.-C., est bien vivante au XXe siècle. Face à une telle longévité, trois questions se posent, qui structurent notre travail : sous quelles formes et selon quelle(s) définition(s) l’élégie existe-t-elle au XXe siècle ? Comment joue-t-elle des rapports entre modernités et traditions ? Comment se repositionne-t-elle face aux attaques virulentes des détracteurs du lyrisme et par quoi se caractérisent les nouveaux lyrismes qu’elle met en jeu au XXe siècle ? / Elegy is generally believed to have disappeared from European poetry in the XXth century, after a period of apogee during the Romanticism and after the hard criticism that the “modern” poets, who rejected the “excessive” romantic lyricism, leveled at the elegiac poets. Elegy was considered by the former as the emblem of a romantic out-of-date lyricism. Lyricism and the poetry expressed in the first person remained also the target of the attacks and mockery from a part of the XXth century poets and literary critic. Yet a real revival of the genre happens since the very beginning of the XXth century, hesitant and gradual during the first half of the century, then more abundant and obvious in the second part of the period. The names of major European poets of this century are linked with the genre of elegy, and the titles of their works show it: Juan Ramon Jiménez’s Elegías (1908), Rilke’s Duineser Elegien (1923), Karyotákis’ Elegies and satires (1927), Brecht’s Hollywoodelegien (1942) and Buckower Elegien (1953), Pierre Emmanuel’s and Jean Grosjean’s Élégies (respectively 1940 and 1967), Elýtis’s Oxopetra Elegies (1991), or the three posthumous works of Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). Born in the VIIth century B.C., the genre of elegy is well alive in the XXth. Such a longevity brings us to three questions which organize our research: which are the shapes of the elegy of the XXth century and on which definition(s) of the genre is it based? Which are the connections and balance between traditions and modernity? How does the genre of elegy outlive the attacks against lyricism and what are the characteristics of the new lyricisms which it gives birth to?

O tema deste estudo é a tradução poética, onde a complexidade em campo tradutório é maior. Para transpor a barreira lingüística e adentrar em outro âmbito cultural, é preciso um condutor que seja um \"elo\" entre culturas, o tradutor. Assim se constrói essa \"ponte necessária\", que traz e leva a voz de outros, permitindo que códigos lingüísticos se tornem compreensíveis nessa grande Babel. A busca pela palavra ideal na tradução poética passa por uma série de detalhes que dependem do texto original. Está o tradutor atado a ele, não em posição de servilismo, mas de uma fidelidade para com o essencial, o \"espírito\" da obra. Na leitura atenta do texto-fonte e na interpretação estão as soluções que não devem ser aleatórias, nem arbitrárias, dependem de fatores inerentes à própria tradução. O bom tradutor será coerente, terá bom senso, honestidade e respeito (com o texto, com o autor, consigo mesmo e com o leitor), ampla cultura geral e predisposição à pesquisa. Complementa este estudo a tradução completa da prosa poética espanhola Platero y Yo, de Juan Ramón Jiménez, Nobel 1956, e o cotejo e comentários de trechos da mesma com sua tradução ao português. A prática tradutória é baseada na \"transcriação\" ou \"recriação\", defendida pelos irmãos Campos (Haroldo e Augusto) na tradução poética. Atualmente, a tradução é ato que equivale à escrita de um texto novo, com valor de original. Atingir o outro lado da ponte é complexo, na complexíssima sim, porém fascinante arte de traduzir. / The theme of this paper is the poetic translation, which is a very difficult task in the translation field. In order to cross the linguistic obstacles and go to another cultural scope, it is necessary a linker between the two cultures. This linker is the translator. That is how this necessary link is made, which brings and takes people´s voices, allowing linguistic codes to be understood in this big \"Babel\". The search for the right word in the poetic translation goes through many details that depend on the original text. The translator is supposed to follow it, not like a \"slave\", but he is supposed to keep the essential meaning of the text. By reading the source and interpreting it the solution is found, which should not be neither aleatory nor arbitrary, but it depends on factors inherent to the translation itself. The good translator is coherent, has common sense, is honest and respects the text, the author, himself and the reader, is educated and likes searching. This paper has the whole translation of the Spanish poetic prose \"Platero y Yo\", by Juan Ramón Jiménez, the 1956 Nobel Prize winner and, as well, has remarks of some parts and its Portuguese version. The practice of translation is based on transcription or recreation, studied by the Campos brothers (Haroldo and Augusto), concerning poetic translation. Nowadays, translation has become equivalent to the writing of a brand new text, the original one. Achieving the objective in translation is very hard, once translation is an extremely difficult, but fascinating art.

Cette thèse de doctorat porte sur la mendicité et la figure du mendiant dans la littérature grecque, d’Homère jusqu’au philosophes cyniques. Quatre familles de mots servent de point de départ à cette étude : πτωχός « le mendiant », ἀγύρτης « le prêtre mendiant », ἀλήτης « vagabond », πλάνης « le rôdeur » et la triade ἐπαίτης, προσαίτης, μεταίτης « le quémandeur ». Le hasard de la conservation veut que les attestations de la mendicité dans la littérature grecque se cantonnent au corpus poétique. Or, par sa dimension pragmatique, la poésie grecque reste liée à son contexte d’origine, en traitant toujours de problématiques sociales qui lui sont contemporaines. Notre travail se propose d’étudier dans quelle mesure les représentations littéraires et esthétiques de la mendicité sont investies d’une fonction sociale. Notre thèse adopte trois perspectives méthodologiques : une étude lexicale de la mendicité examinant les jeux de synonymie et les connotations, un examen des fonctions littéraires et dramatiques du personnage, tantôt catalyseur de l'action, tantôt vecteur d'émotions, et une analyse sur son rôle argumentatif dans les réflexions politiques et morales sur la pauvreté au IVème siècle. Le motif de la mendicité permet aux Grecs d’envisager un certain type d’exclusion civique, et en contre-point, d’appréhender la nature du lien social. Une étude chronologique montre que ce personnage, initialement contre-modèle du parfait citoyen, devient aux moments de grands bouleversements économiques un personnage attachant, permettant à la cité de réintégrer symboliquement les pauvres et de prôner indirectement la solidarité collective. / This study/PhD thesis is focused on the beggary and the beggar in Greek literature, from Homer to the cynicism. At the beggining, I am dealing with the study of four word groups : πτωχός ‟beggar”, ἀγύρτης ‟begging priest”, ἀλήτης ‟vagabond”, πλάνης ‟wanderer” and ἐπαίτης, προσαίτης, μεταίτης ‟almsman”. The preserved corpus of Greek literature with mention of the beggary is fortuitously restricted to poetry. By her pragmatic function, ancient Greek poetry remains connected with contemporary social problems. My work's aim is to investigate how literary and aesthetic representations of the beggary have a social function. I adopted three methodological perspectives: a semantic study of the beggary (synonyms and connotations), an study of the literary and dramatic functions of that character (sometimes action accelerator, sometimes factor of emotions), and an analysis of his argumentative role in political and moral reflexions about poverty during the fourth century B.C. The motive of the beggary enabled Greek people to consider a type of civic exclusion, and in parallel, to apprehend the nature of the social cohesion. A chronological approach shows that this character, previously a counter-model of the perfect citizen, becomes - when big economical changes arrive - an endearing character, who symbolically reinstates excluded people in the city and indirectly promote public solidarity.

Joseph Turrin (b.1947) is a composer, orchestrator, conductor, pianist, and teacher whose wide-ranging activities have contributed greatly to many aspects of contemporary American musical life. His numerous ASCAP awards (1981-20050, as well as his many other awards, document his professional success. His many commissions by various orchestras around the world, bands, brass ensembles, soloists, theatre groups and film scores show his popularity. He is also in high demand as a pianist for orchestras, in theatre productions, in commercials and studio recordings as well as serving as personal accompanist for Jerome Hines, Phil Smith, Joseph Alessi and others. Mr. Turrin's compositions for trumpet and piano have been particularly popular among college and professional players as seen by their frequent performance in those venues as evidenced by the International Trumpet Guild's Trumpet and Brass Programs for the years 1995-2002. The three works selected for the present study include: Elegy for Trumpet and String Orchestra (1971, rev. 1993, piano reduction, 1993), Caprice for Trumpet and Piano (1972), and Intrada for Trumpet and Piano (1988). In this in-depth study, special attention is given to those characteristics which create unity of form, and those traits that seem to be idiomatic of Mr. Turrin's style of writing. A comparison of the three pieces allows for the extrapolation of common style traits, which include certain traditional fanfare-style motifs as well as jazz-style elements. Conclusions are drawn with detailed explanation of what I consider the appropriate application of the knowledge from the analyses to quality performances of the pieces studied. Careful instruction is given concerning the various aspects of performance style which are supported by the study done on each piece. Finally, an interview by internet with the composer answers some of the questions created by the analyses. Several of the composer's comments justify many of the conclusions drawn by this study.

This dissertation presents a previously unedited text by one of the most distinguished- yet neglected-Latin writers of the Italian Renaissance, Ercole Strozzi (1471-1508), a poet and administrator in the court of Ferrara. Under the Este Dukes, Ferrara became a major center of literary and artistic patronage. The Latin literary output of the court, however, has received insufficient scholarly scrutiny. The text is a verse funeral elegy of Eleonora of Aragon (1450-1493), the first Duchess of Ferrara. Eleonora was a remarkable woman whose talents and indefatigable efforts on behalf of her husband, her children, and her state, won her accolades both at home and abroad. She also served as a prototype for the remarkable careers of her two daughters, Isabella d'Este, and Beatrice d'Este, who are celebrated for their erudition and patronage of arts and letters. The text is a mirror of the Estense court and reveals to us how its members no doubt saw themselves, at the very peak of its temporal power and the height of its prestige as a center of cultural creativity. It is also important for the striking portrait it presents of Eleonora. Ercole Strozzi chose to call his poem an epicedium, an ancient minor literary genre that had received attention in the two decades prior to its composition, due to the discovery and printing of the silver age Roman poet Statius, whose text includes several epicedia. Strozzi deftly adapts and transcends both his ancient and contemporary models (especially Poliziano), and in the process, creates a new Latin literary genre, the Renaissance epicedium. It is a fine poem, full of both erudition and creativity, and as such is the first fruits of what would be Ercole Strozzi's illustrious poetic career. The work is genuinely worthy of study on both esthetic and historical grounds.

The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”

Im Mittelpunkt der Dissertation „Politik der kleinen Form“ steht die Frage nach der Politizität ‚kleiner‘ Formen in augusteischer Zeit: also der sogenannten Liebeselegie des Properz, Tibull und Ovid sowie der erotischen Dichtung des Horaz. Auf der Grundlage einer Analyse der Gattungs- und Formpolitik ihrer Paraklausithyra und Recusationes wird eine neue Interpretation aufgezeigt. Jenseits von inhaltszentrierten Lesarten, die immer nur den Subversions- oder Affirmationscharakter von Literatur herausarbeiten, schlägt diese Dissertation einen dritten Weg vor: den der Ambivalenz und des Paradoxons. / At the centre of the dissertation „The Politics of Small Forms“ is the question of the politicity of ‘small forms’ in Augustan times: of the so-called love elegy of Propertius, Tibullus and Ovid as well as of the erotic poetry of Horace. On the basis of an analysis of the genre and form politics of their paraclausithyra and recusationes a new interpretation is pointed out. Beyond content-centered readings, which work out either the subversive or the affirmative character of literature, this dissertation suggests a third way: that of ambivalence and paradox.

La figure de l’épouse fait partie intégrante du genre épique, dont les œuvres homériques ont élaboré le modèle pour la littérature gréco-romaine. L’importance accordée à l’eros féminin, et particulièrement conjugal, est l’un des aspects sur lesquels repose l’évolution de la généricité épique, d’œuvre en œuvre. À l’époque flavienne, Valérius Flaccus et Stace confèrent un rôle déterminant à deux figures féminines, celle de Médée dans les Argonautiques et celle d’Argie dans la Thébaïde, et présentent, tous deux, d’autres facettes de l’eros conjugal dans leur épisode lemnien, dont Hypsipyle est l’héroïne centrale. Cette présence accentuée du féminin peut être rapprochée de la réflexion contemporaine sur l’éthique conjugale menée dans le domaine philosophique, notamment par Musonius Rufus. Sur le plan littéraire, dans le contexte de la latinité d’argent, elle manifeste un questionnement des normes du genre, qui se traduit par une représentation de l’épouse selon des modèles autres qu’épiques : celui du genre tragique et de l’élégie romaine, particulièrement des Héroïdes d’Ovide. À la confluence de trois traditions littéraires, épique, tragique et élégiaque, le rôle des figures féminines témoigne d’un renouvellement de l’épopée, dont l’élaboration de critères d’analyse portant sur les notions de genre, de généricité et d’intergénéricité permet de donner l’entière mesure. / The character of the wife is a central feature of the epic genre, for which Homer's poems stand as a model in Greek and Latin literature. The major role the feminine eros, especially towards a husband, plays in those works is one of the aspects on which the evolution of epic genericity relies, evolving from one poem to another. During the Flavian Age, Valerius Flaccus and Statius gave two feminine characters a major part in their poems : one is Medea in The Argonautics, the other Argia in Statius' Thebaid. Besides, both poets also illustrate other aspects of husband and wife eros in the Lemnian episode, which stages Hypsipyle as its heroine. From a philosophical point of view, we can see how this emphasized presence of feminine characters matches contemporary philosophers' theories on ethics within marriage, such as Musonius Rufus' thoughts. From the point de view of literature however, considering its setting in the Age of Silver latinity, we can consider this presence as a questioning of epic generic codes, which shows in the way wives are represented, according to the patterns of tragedy and of the Roman elegy, particularly of Ovid's Heroids. Therefore in the wake of three literary traditions - epic, tragedy, elegy -, the role of feminine characters shows the renewal of the epic, which we can fully study by creating criteria of analysis bearing on the notions of genre, genericity and intergenericity.

The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed. / Masters Thesis

The primary role of this report is to provide an in-depth analysis of all the instances of the word vidua, its meanings and uses in Latin literature from the last two centuries B.C. This close examination of the word vidua in the literary sources of this period has resulted in a number of important modifications to its definition. The word vidua, which is commonly translated by ancient scholars as widow, is not sustained by the contextual evidence of the majority of the passages that do no state explicitly the reason for the women's deprived status. Instead the word is most commonly used to mean a much broader social group of Roman women, all no longer married women, a category which includes various groups of women such as widows, divorcees, abandoned women and women whose husbands have been away for long periods of time. Furthermore the English word unmarried should not be used to translate the Latin word vidua since, as I demonstrate throughout my paper, there is a clear distinction in the Roman minds between women who are no longer married, vidua, and women who are not yet married, virgines an important distinction that gets lost with the more inclusive and broader social category meant by the word unmarried. / text