Inaug.-Diss.--Cologne. / Vita. Bibliography: p. v-xiii.

Made available in DSpace on 2015-05-14T12:39:48Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 855667 bytes, checksum: b06558922e129c45bf687a0cbd0ceb4e (MD5) Previous issue date: 2013-06-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study consists in analyzing Horace s Carmen Saeculare, public poem created to become the official hymn of the Ludi Saeculares. The purpose of this work is to show how the Carmen Saeculare, poem with the status de religious hymn, can be, at same time, a political propaganda of Augustus, through cultural, mythical and religious aspects of roman society. We propose to analyze the poem, regarding theories that approaches, mainly, literature and its influence in Rome. In order to achieve a better comprehension of the text, we present an operational translation of the whole original text. / Neste trabalho realizo um estudo do Carmen Saeculare de Horácio, poema público criado para ser hino oficial dos Ludi Saeculares. O objetivo é mostrar como o Carmen Saeculare, poema que se encontra na categoria de hino religioso, se configura, ao mesmo tempo, em uma propaganda política de Júlio César Otaviano Augusto, através de elementos culturais, míticos e religiosos da sociedade romana. Propomos analisar o poema, considerando teorias que abordem, principalmente, literatura e sua influência na política de Roma. Para melhor entendimento do texto, apresentamos uma tradução operacional do texto original.

Este trabalho propõe uma leitura em mosaico das Odes, em três níveis: (a) a ordem das palavras, (b) organização do poema e (c) disposição do(s) livro(s). Em seguida, diante dos efeitos produzidos por esses níveis, a tese pretende justifica e apresentar uma tradução poética que tenha a função crítica que elucidar pela prática poética os problemas críticos apontados na parte teórica / This work proposes a reading in mosaics of the Odes, in three levels: (a) word-order, (b) organization of the poem and (c) disposition of the book(s). After that, in face of the effects produced by those levels, this thesis aims at justifying and presenting a poetic translation that also bears a critical function through clarifying by the poetical praxis the critical problems pointed in the theoretical section

O presente trabalho tem por objetivo, inicialmente, investigar os modos como Horácio organiza seus poemas e livros e como faz a passagem de um poema a outro, buscando seus antecedentes, seja na poesia grega, seja na latina. Concentra-se, depois, no livro de Epodos, que apresenta duas partes muito claras: a primeira do epod. 1 ao 10 e a segunda do epod. 11 ao 17. Tal divisão é a base da tese que se propõe a distinguir iambo de epodo na obra invectiva de Horácio, que se serviu não só dos modelos gregos, arcaicos e helenísticos, mas também de modelo latino. Do estudo que se fez decorrem alguns critérios da tradução proposta em verso: é a primeira tradução poética em português de todo livro dos Epodos. Recolhem-se, por fim, todas as traduções poéticas em português que foram encontradas, apresentadas por pequena introdução. / The initial objective of the present work is to investigate how Horace organizes his poems and books and how he operates the transition from one poem to the next. In order to accomplish that, his predecessors both in Greek as in Latin poetry were studied. Subsequently, it focuses on the Book of Epodes, which can be clearly be divided into two parts: the first, from epod. 1 to 10, and the second from epod. 11 to 17. Such division is the basis of this thesis, which proposes a distinction between iambus and epodes in Horaces invective work. Horace made use not only of Archaic Greek and Hellenistic but also of Latin models. From this study, some criteria for the proposed translation in verse were derived: this is the first poetic translation into Portuguese of the whole Book of Epodes. Finally, all the poetic translations into Portuguese that could be found were gathered and they are preceded by a brief introduction.

Made available in DSpace on 2016-04-27T16:33:18Z (GMT). No. of bitstreams: 1 EHPS - Josefa Eliana Souza.pdf: 549498 bytes, checksum: 4943669ec240cca8aad854584b915d09 (MD5) Previous issue date: 2006-10-06 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this study is to understand the way Tavares Bastos dealt with Brazilian public education in the 60 s and in the beginning of the 70 s, in the XIX century, as for what he named the Brazilian public education program . It also tried to answer the following question: if and how did the author try to incorporate North-American models into the program of public education in Brazil? In order to perform such task, pamphlets the author/politician published between the years of 1861 and 1873 were examined. The analysis of such work allows identifying elements tha t are part of the program of public education aimed at by Tavares Bastos, and it emphasis that elements of the North- American models were used, mainly the one implemented by Horace Mann, and the ones presented by Aléxis Tocqueville, as an appropriate ama lgam to direct the Brazilian people towards the path of progress and civilization. By picking elements that constitute those models, Tavares Bastos built arguments in order to defend the idea of a free and universal school, mandatory education, co-education schools, and a teaching program dedicated mainly to knowledge based on practical principles that would provide the students with a kind of training that would be more adequate to the needs of workers from the fields of industry, commerce, and agriculture of that time. Therefore, the provinces should be equipped with schools whose mission would be preparing students to perform the tasks society demanded and to prepare them for democracy / Neste estudo a finalidade é compreender o modo como Tavares Bastos tratou a instrução pública brasileira, na década de 60 e início de 70 do século XIX, no que denominou de programa de instrução pública brasileira . Buscou-se também responder a seguinte questão: se e de que forma o autor procurou incorporar modelos ou referentes norteamericanos ao programa de instrução pública do Brasil? Na realização dessa tarefa foram examinados os panfletos que o autor/parlamentar publicou entre os anos de 1861 a 1873. A análise dessa produção permite identificar elementos que constituem o programa de instrução pública almejado por Tavares Bastos e afirmar que elementos de modelos norteamericanos foram mobilizados, sobretudo o implementado por Horace Mann e os apresentados por Aléxis Tocqueville, como um amálgama adequado para conduzir o povo brasileiro ao caminho do progresso e da civilização. Ao pinçar elementos que constituem esses modelos, Tavares Bastos produziu os argumentos para defender a escola gratuita e universal, o ensino obrigatório, escola mista, programa de ensino voltado, sobretudo, para o conhecimento baseado em princípios práticos e que possibilitassem ao aluno um tipo de formação mais adequada às necessidades do trabalhador da indústria, do comércio e da agricultura da época. Por isso, as províncias deveriam ser dotadas de escolas, cuja missão deveria ser preparar o aluno para exercer as tarefas que a sociedade exigia e preparar o caminho para a democracia

Ce travail vise à décrire les spécificités stylistiques de l'écriture d'Horace dans son oeuvre lyrique (Odes Livres I à IV et Chant Séculaire), afin de définir la nature poétique du sens qui s'y construit. Le style des poèmes est étudié dans les relations entre, d'une part, l'arrangement syntaxique et rhétorique des mots dans les énoncés et, d'autre part, la forme métrique des strophes. Ces relations sont décrites à plusieurs échelles. La première partie du travail se consacre aux limites de phrases et de strophes ; la seconde étudie le positionnement dans la structure métrique des outils syntaxiques, lexicaux, phoniques, qui contribuent au rythme rhétorique de la phrase ; la troisième montre comment les mots et les membres syntaxiques proposent une relecture métrique des strophes. Les conclusions de ce travail sont de plusieurs ordres. La complexité du genre lyrique d'Horace est illustrée par la pluralité de ses visées discursives et des outils rhétoriques mis à leur service. La versification d'Horace est étudiée d'après une métrique verbale et syntaxique qui révèle ses richesses expressives. Les relations entre métrique et rhétorique, qui vont de l'unisson au contrepoint complexe, témoignent d'une polyphonie poétique du sens, où s'associent l'individualité et la voix communautaire

In recent years, Gothic literary studies have increasingly acknowledged the role played by Shakespeare in authorial acts of appropriation. Such acknowledgement is most prominently stated in Gothic Shakespeares (eds. Drakakis and Townshend, 2008) and Shakespearean Gothic (eds. Desmet and Williams, 2009), both of which base their analyses of the Shakespeare-Gothic intersection on the premise that Shakespearean quotations, characters and events are valuable objects in their own right which mediate on behalf of the 'present' concerns of the agents of textual appropriation. In light of this scholarship, this thesis argues the case for the presence of 'Gothic Shakespeare' in Gothic writing during the latter half of the eighteenth century and, in doing so, it acknowledges the conceptual gap whereby literary borrowings were often denounced as acts of plagiarism. Despite this conceptual problem, it is possible to trace distinct 'Gothic' Shakespeares that dismantle the concept of Shakespeare as a singular ineffable genius by virtue of a textual practice that challenges the concept of the 'genius' Shakespeare as the figurehead of genuine emotion and textual authenticity. This thesis begins by acknowledging the eighteenth-century provenance of Shakespeare's 'Genius', thereby distinguishing between the malevolent barbarian Gothic of Shakespeare's own time and the eighteenth-century Gothic Shakespeares discussed under the term 'appropriation'. It proceeds to examine the Shakespeares of canonical Gothic writers (Horace Walpole, Ann Radcliffe and Matthew Lewis) as well as their lesser-known contemporaries (T.J. Horsley Curties and W.H. Ireland). For instance, Walpole conscripts Hamlet in order to mediate his experience of living in England after the death of his father, the first Prime Minister Robert Walpole. The thesis then argues for the centrality of Shakespeare in the Gothic romance's undercutting of the emergent discourses of emotion (or 'passion'), as represented by the fictions of Radcliffe and Lewis, before moving on to consider Curties's attempted recuperation - in Ethelwina; or, the House of Fitz-Auburne (1799) - of authentic passion, which is mediated through the authenticity apparatus of Edmond Malone's 1790 editions of Shakespeare's plays. It concludes with W.H. Ireland's dismantling of Malone's ceoncept of the 'authentic' Shakespeare through the contemporary transgressions of literary forgery and the evocation of an illicit Shakespeare in his first Gothic romance, The Abbess, also published in 1799.

What is the correct way to interpret the relationship between the message of Jesus and the kerygma, a hermeneutic of discontinuity and evolution or a hermeneutic of continuity and development? The Eschatological Jesus will argue for continuity and development. In their portraits of a non-eschatological and non-messianic Jesus J.D. Crossan and Marcus Borg raise questions about the relationship between Jesus and the kerygma but do not answer them. Reginald H. Fuller and Martin Hengel demonstrate that high Christology can be traced directly to the eschatological ministry of Jesus, especially his authority. Fuller describes Jesus' authority in terms of an inaugurated eschatology and a distinctive sonship which he extends to others. Martin Hengel describes Jesus' eschatological authority as one who acted in God's place when he called his disciples the way God called his prophets and imposed on them a divine discipline and in Lk. 13:34 which has parallels in Sir. 1:15 and Deut. 32:11. This is a messianic authority since it was the Messiah who stood in God's place at the end of time. This Jesus who is in control of the end gave rise to a belief in his pre-existence and the claims of the Fourth Gospel. P.M. Casey, on the other hand, rejects such authority as being apparent in Jesus' ministry. Unlike Fuller and Hengel who see the Fourth Gospel as the logical outgrowth of Jesus' use of 'Abbā, Casey sees the Fourth Gospel as a betrayal of Jesus and the synoptic tradition. However, Casey overlooks the synoptic gospels' portrait of Jesus' acting in God's place and Matthew's use of προσκγνεῖν and προσέρχεσθαι. The Eschatological Jesus concludes with the belief that Jesus' ministry was messianic and eschatological and that the authority he exhibits provides the basis for not only his being Christ, but divine Lord and Son of God.

xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation examines the relationship between British and American conceptualizations of the Anglophone Caribbean and the way that Anglophone Caribbean fiction writers and filmmakers tend to represent the region. Central to my project is the process of reexportation, whereby Caribbean artists attain success at home by first achieving renown abroad. I argue that the primary implication of reexportation is that British and American conceptualizations of the Anglophone Caribbean have had a determining effect upon attempts by Anglophone Caribbean fiction writers and filmmakers to represent the region. Chapter I introduces the dissertation. Chapter II, "The 'Double Audience' of Samuel Selvon and The Lonely Londoners ," concerns Trinidadian author Samuel Selvon, who--along with George Lamming, Derek Walcott, and V. S. Naipaul--is cited as being among the most important and influential of the West Indian authors who began publishing in the 1950s. Although I consider all of Selvon's ten novels in that chapter, my main concern is The Lonely Londoners (1956), Selvon's best known and perhaps most pivotal and misread novel. Chapter III, "Contrapuntally Re-reading Perry Henzell's The Harder They Come, " features a reevaluation of the Jamaican filmmaker's 1972 motion picture, which in many complex ways remains the Caribbean film. Chapter IV, " Pressure and the Caribbean," focuses on Trinidadian filmmaker Horace Ove's Pressure (1975), which I deliberately treat as a Caribbean film although it is still best known as Britain's first feature-length dramatic movie with a "black" director. Vital secondary texts include selected works by Edward Said, Mikhail Bahktin, and Richard Dyer, as well as Kenneth Ramchand, Keith Warner, and D. Elliott Parris. The three existing book-length analyses of Selvon's fiction are the main voices with which the Selvon chapter is in discourse. David Bordwell's work in cinematic narrative theory and Marcia Landy's contribution to the study of British genres are essential to the frameworks through which I read the cinematic primary texts. / Adviser: Gordon Sayre

Master of Music / Department of Music / Gary C. Mortenson / This Master's report contains the biographical, harmonic, and style analysis of the five compositions performed on the author's Master's recital that occurred on October 11th, 2007. The analyses included will provide foundational information for thorough study of Richard Peaslee's Nightsongs, Eric Ewazen's Sonata for Trumpet and Piano, Antonio Carlos Jobim's Desafinado, Horace Silver's Peace, and Bronislaw Kaper's Green Dolphin Street.