This thesis considers Confessional poetry and Black Arts poetry against the backdrop of the political and social culture of the 1950s that influenced the styles of these two major poetic movements. I examine Sylvia Plath's and Nikki Giovanni's distinct poetic personas and the language they employ in relation to each other as representatives of confessional and Black Arts poetry, two poetic styles often thought to be inherently opposed to each other, one personal and one political. I identify connections between these seemingly different poets and movements through close readings of key poems by Plath and Giovanni that situates them within second-wave feminism and the civil rights movements of the 1960s. I argue that both poets devise an alternate persona language that is especially exaggerated to create defiant personas of resistance as a direct response to the constricting political conditions in the United States at mid-century.

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The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.

Notre recherche porte sur la compréhension approfondie de la chronogenèse italienne et, en son sein, de l'expression du futur, selon les principes théoriques et méthodologiques guillaumiens. Notre étude comparative associe les approches diachronique et synchronique. Nous étudions l'évolution de l'expression du futur de l'ancien italien à l'italien contemporain écrits grâce à un 1er corpus construit à partir du texte original du Decamerone de G. Boccaccio, de sa traduction en italien contemporain proposée par A. Busi et de sa traduction en français par J. Bourciez. Nous comparons l'expression du futur dans trois romans graphiques rédigés en italien (par des auteurs originaires de Vénétie et de Sicile) et en français, à l'aide d'une 2e série de corpus extrapolée à partir des transcriptions de ces BD. Nous observons, d'une part, les différences entre le français et l'italien standards contemporains, d'autre part, les réalisations de l'italien standard selon l'influence des substrats régionaux. Grâce à un 3e corpus, nous étudions l'expression du futur en napolitain en comparant les textes de chansons napolitaines du XIXe au XXIe, avec leurs traductions en italien et français standards. Notre confrontation des diverses solutions pour le futur couvre d'Ouest en Est la Romania occidentale (français standard, italien régional de Vénétie), la position centrale qu'occupe l'italien standard issu du florentin littéraire, la Romania orientale (italien régional de Sicile, napolitain). Nous étudions la distribution des formes morphologiques du futur (synthétiques, analytiques), leurs emplois (temporels, modaux) ainsi que les solutions alternatives d'expression du futur (autres temps, CC de temps). Nous discutons les concepts d'aspect, d'accompli et d'inaccompli, de perfectif et d'imperfectif et étudions leur distribution dans les formes morphosyntaxiques de l'expression du futur. / Our research focuses on the deep understanding of the Italian chronogenesis, and within it, of the expression of future, based on the theoretical and methodological principles of G. Guillaume. Our comparative study combines diachronic and synchronic approaches. We study the evolution of the expression of future from former Italian to contemporary Italian literature through a first corpus built from the original text of the Decameron of G. Boccaccio, its contemporary translation proposed by A. Busi and its French translation by J. Bourciez. We compare the expression of future in three Italian (by authors from the Veneto and Sicily) and French graphic novels, with a second series of corpus extrapolated from the transcripts of these comics. We observe, on one hand, the differences between French and Italian contemporary standards, and on the other hand, the achievements of the Italian standard according to its substrates' regional influence. With a third corpus, we study the expression of future by comparing Neapolitan songs texts from the XIXth to the XXth century, with their translations in Italian and French. Our comparison of the various solutions for future covers, from West to East, the western Romania (standard French, Veneto regional Italian), and the central position of the Italian literary standard from Florentine, Eastern Romania (Sicilian regional Italian, Neapolitan). We study the distribution of future's morphological forms (synthetic, analytic), uses (temporal, modal) and alternative expression of future (other times, adverbial phrase of time). We discuss the concepts of aspect, accomplished and unaccomplished, perfective and imperfective and study their distribution in the morphosyntactic forms of future's expression.

Cette thèse présente les traductions des trois traités de navigation écrits en latin (et restés à ce jour inédits) par Giovanni Poleni, professeur de mathématiques, physique, astronomie, philosophie mécanique expérimentale, navigation et construction navale à l’université de Padoue : La meilleure manière de mesurer sur mer le chemin d’un vaisseau, indépendamment des observations astronomiques (1733), Dissertations latines sur les ancres portant sur La figure optimale selon laquelle les ancres peuvent être formées, De la technique la plus performante pour forger les ancres, La manière d’éprouver la force des ancres, soit leur résistance (1737), le troisième traité concerne l’amélioration de l’usage du cabestan : De Ergatae Navalis praestabiliore, facilioreque Usu, Dissertatio (1741). Ces trois traités furent primés par l’Académie Royale des Sciences de Paris (prix Rouillé de Meslay). Un corpus traduit de la correspondance latine de Poleni avec les savants européens, la traduction des programmes latins de ses cours de navigation ainsi qu’une enquête in situ à Venise, Vérone ou à Padoue furent nécessaires pour contextualiser les traités. La reconstitution grandeur nature de deux machines de navigation de Poleni : le cabestan et la machine pour mesurer la force du vent, réalisée par des étudiants de BTS Développement Réalisation Bois et des élèves de CAP Serrurerie Métallerie furent testées en mer. Le premier volume propose une biographie de Giovanni Poleni, les « appels à projets » de l’Académie Royale des Sciences de Paris (1733-1741), les traductions commentées des trois traités de Poleni ainsi que la reconstitution de ses machines. Le second tome regroupe les fac-similés des manuscrits ou des imprimés originaux de l’universitaire padouan. / This doctoral thesis presents the translation of the three shipping essays written in latin (and never translated until now) by Giovanni Poleni, professor of mathematics, physics, astronomy, mechanical and experimental philosophy, shipping and shipbuilding in the University of Padua: La meilleure manière de mesurer sur mer le chemin d’un vaisseau, indépendamment des observations astronomiques (1733), Dissertations latines sur les ancres about La figure optimale selon laquelle les ancres peuvent être formées, De la technique la plus performante pour forger les ancres, La manière d’éprouver la force des ancres, soit leur résistance (1737), the third essay relates how to improve the use of the ship's capstan: De Ergatae Navalis praestabiliore, facilioreque Usu, Dissertatio (1741).These three essays were rewarded by the Royal Academy of Sciences in Paris (prize Rouillé de Meslay). A translated corpus of the Poleni's latin correspondence with the others European scholars, the translation of the latin programmes of his shipping courses and an on-site survey in Venice, Verona and Padua were required in order to contextualize the essays. The full-scale reconstruction of Poleni’s shipping machines: the capstan and the machine to measure the wind force, made by the students of BTS Development Achievement Wood and the pupils of CAP Metal Forming and Ironwork were tested in sea. The first volume provides a biography of Giovanni Poleni, the “Calls forProjects” of the Royal Academy of Sciences in Paris (1733-1741), the translations commented of the Poleni’s three shipping essays and the reconstruction of his shipping machines. The second one collects the manuscripts or original printouts' facsimile written by the Paduan academic.

Opera fantasias have been denigrated as insufficiently intellectual or serious, as derivative, as merely popular or sentimental. However, many of the perceived flaws were, if not hallmarks, at least accepted realities of Italian opera composing. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. I approach opera fantasias, instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material, both historically and theoretically, concentrating on compositions written for and by woodwind-instrument performers in Italy in the second half of the nineteenth century. Important overlapping strands in my theoretical framework include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. I have uncovered a large body of compositions and composers, many of whom have not been written about in English, through archival research in Milan, Naples, Parma, Bologna, and Palermo. This reveals trends in operas used for fantasias, temporally, spatially, and between instruments, as well as further trends in the use of specific melodies. I use contemporary reviews of performances and compositions to attest to the popularity of the opera fantasia throughout the second half of the nineteenth century in Italy, including oboist Antonio Pasculli as a case study. This often overlooked genre is intimately tied to the central canon and deeply connected to its social and musical contexts. Approaching the opera fantasia as a coherent and meaningful group of works clarifies a genre that has been consciously stifled and cultural resonances that still impact music reception and performance today.