The political career of Gaius Marius (ca. 157-86 BC}, which spans the years between 120 and 86 BC, was memorable not only for its unprecedented personal and public triumphs, but was also of momentous significance in the whole history of the Roman Republic. At precisely the time that Marius achieved a supreme position in the state, the military might of the Romans, hitherto invincible at least in fairly recent times (second century}, had been dealt a series of humiliating setbacks abroad. Firstly, in North Africa by a rather minor despot, Jugurtha the king of Numidia. Secondly, much closer to home in Illyria and in southern Gaul by the migrating Germanic tribes, the Cimbri and the Teutones. Against this background of quite unremitting disaster, Marius obtained a place in republican political life which had not been witnessed before. In his pursuit of senatorial offices, Marius initially experienced both victories and disappointments (success in the tribunician elections but failure in elections for the aedileship) before finally winning the prestigious consulship in the elections held in 108. Thereafter, he was consul a further six times, and five of these consulships were held in successive years between 104 and 100. Just as he was dominant on the field of battle against the Numidians and the Germanic tribes, so, too, did he control the politics of the city during the decade from 108 to 99: The chapters which follow below set out to trace Marius' long rise to preeminence, his contribution to the intricate tribunician legislation of the period in which he flourished and, moreover, his involvement with other senior political figures who were his contemporaries. Furthermore, this biographical study seeks to fully expose the fact that, as a result of his participation in the politics of the time, Marius' career became an obvious example which other equally ambitious politicians (for instance, Sulla, Pompey, Crassus, Caesar and Octavian) sought to emulate or even to surpass. Consequently, Marius may not have realised the extent of the dangers which he bequeathed to the res publica but, inadvertently or not, he caused the beginning of the fall of the Roman Republic. / D. Litt. et Phil. (Ancient History) / History

This paper undertakes to develop an in-depth interpretation of Piranesi's Il Campo Marzio. While drawing heavily from specific details in both the text and images, the study retains a contextual outlook, speculating that Vico's New Science can lend meaning to Piranesi's work. / Based primarily on Vico's concept of the Ideal Eternal History, parallels are drawn between the two works. While this provides the key to entering into Piranesi's work, it reveals only its inner horizon, merely describing in different terms what is already there. / The insights provided by this exercise, however, demonstrate that the making of architecture as promoted by the Campo Marzio is not unlicensed Romantic freedom, but a fundamental, culturally-bound human activity. The paper concludes, moreover, that the making of the Campo Marzio interpretively re-enacts the original imaginative founding of the Eternal City and, as such, constitutes an attempt to re-found Heroic Rome.

The political career of Gaius Marius (ca. 157-86 BC}, which spans the years between 120 and 86 BC, was memorable not only for its unprecedented personal and public triumphs, but was also of momentous significance in the whole history of the Roman Republic. At precisely the time that Marius achieved a supreme position in the state, the military might of the Romans, hitherto invincible at least in fairly recent times (second century}, had been dealt a series of humiliating setbacks abroad. Firstly, in North Africa by a rather minor despot, Jugurtha the king of Numidia. Secondly, much closer to home in Illyria and in southern Gaul by the migrating Germanic tribes, the Cimbri and the Teutones. Against this background of quite unremitting disaster, Marius obtained a place in republican political life which had not been witnessed before. In his pursuit of senatorial offices, Marius initially experienced both victories and disappointments (success in the tribunician elections but failure in elections for the aedileship) before finally winning the prestigious consulship in the elections held in 108. Thereafter, he was consul a further six times, and five of these consulships were held in successive years between 104 and 100. Just as he was dominant on the field of battle against the Numidians and the Germanic tribes, so, too, did he control the politics of the city during the decade from 108 to 99: The chapters which follow below set out to trace Marius' long rise to preeminence, his contribution to the intricate tribunician legislation of the period in which he flourished and, moreover, his involvement with other senior political figures who were his contemporaries. Furthermore, this biographical study seeks to fully expose the fact that, as a result of his participation in the politics of the time, Marius' career became an obvious example which other equally ambitious politicians (for instance, Sulla, Pompey, Crassus, Caesar and Octavian) sought to emulate or even to surpass. Consequently, Marius may not have realised the extent of the dangers which he bequeathed to the res publica but, inadvertently or not, he caused the beginning of the fall of the Roman Republic. / D. Litt. et Phil. (Ancient History) / History

No description available.

No description available.

In examining the end of the Roman Republic and the rise of the principate, one is inevitably struck by the transformation of the relationship between the individual and the community. Roman society during the Republic was predicated on the communal leadership of the elite and the recognition of excellence in individuals. In the days of the early and middle Republic, this individual recognition served as the vehicle to participation in communal authority, the prize for which aristocratic families competed. Communal authority was embodied in the Senate. The Senate not only acted as the supreme political body in the Roman state, but also acted as the moral and religious arbiter for society. This was in addition to their more easily foreseeable role as the face of the Roman state toward foreign peoples, both diplomatically and militarily. Heads of aristocratic families who were most often already part of the economic elite sought to secure membership within this smaller circle of political elite. Influence was sought in a variety of arenas, all with the purpose of proving one’s worthiness to be part of the administration of the state. Pursuit and possession of the traditional Roman virtues provided the foundation of legitimacy for oligarchic rule, and individual proof of virtue was necessary for inclusion within that rule. One of the chief spheres of proving one’s virtue was war, where martial valor eclipsed all other virtues, and courage on the battlefield and excellence in command proved one’s worthiness to inclusion in communal authority. However, as the Republic found itself facing every more frequent and threatening crises, it increasingly turned to its men of ability, investing them with ever greater license, and permitting, or at least having no choice but to permit, ever greater concentration of state power in the hands of individuals. These men of ambition and ability took advantage of Rome’s changing polity and the professionalization of its military under the reforms of Marius to circumvent traditional avenues of advancement in favor of more direct approaches. Each looked to the man behind him as precedent and to the future as chance for even greater glory. Eventually, Caesar took power at the head of an intensely loyal military force, ready to enforce by force of arms any protests in the name of tradition. Though ultimately assassinated, Caesar’s dictatorship marked the end of Republican Rome and the rise of the principate, defined by an inversion of the traditional relationship between the community and the individual. Now it was the Senate which sought political participation within the overarching framework of individual authority.

Ce mémoire rend compte de la création du « documentaire acousmatique » Littorale, une œuvre musicale à visée informative, élaborée au moyen de prises de son in situ, d’extraits d’archives sonores et des témoignages de sept informateurs. En tissant des liens entre les deux disciplines médiatiques que sont la composition acousmatique et le documentaire, l’œuvre retrace l’histoire d’un impressionnant corpus de chants folkloriques récoltés en 1918 par l’ethnologue Marius Barbeau, dans les villages côtiers de Sainte-Anne-des-Monts et Tourelle, Haute-Gaspésie. La démarche de composition s’élabore ainsi en trois axes communicants : la mise en lumière de liens préexistants mais sous-exploités entre le documentaire et l’acousmatique, la recherche de terrain entourant le répertoire de chansons et sa résurgence dans la population actuelle de la Haute-Gaspésie, ainsi que la composition des trois mouvements musicaux constituant Littorale. À travers l’investigation d’enjeux identitaires qui découlent de la redécouverte du répertoire et la mise en lumière de certains flous historiques qui y sont reliés, cet alliage de deux genres médiatiques vise l’émergence d’une démarche de composition informative et socialement pertinente. / This thesis explains the creative process behind the “acousmatic documentary” Littorale, a musical work with informative perspectives, which primarily makes use of on-site sound recordings, sound archives and the testimonies of seven informers. Aiming to establish links between the two media practices consisting of documentary and acousmatic music, the work investigates the story behind an impressive repertory of folksongs collected by ethnologist Marius Barbeau in 1918, within a small population of fishermen in Sainte-Anne- des-Monts and Tourelle, two remote villages on the north shore of the Gaspésie peninsula. The composing process is thus divided into three distinct yet interrelated steps: shedding light onto existing but underused links between documentary practices and acousmatic music, investigating the repertory of folksongs and its contemporary rediscovery by the local people, which reveals underlying identity concerns, as well as the composing itself of the three musical movements of Littorale. Through investigating the aforementioned identity concerns and shedding new light on some historical misconceptions, this alloy of two media practices aims to approach acousmatic composition in a way that is both informative and socially relevant.

The Quebec City festivals of 1927 and 1928 represent a unique instance of close collaboration between prominent figures in Canadian musical and cultural history, John Murray Gibbon and Marius Barbeau. Based on Anglocentric concerns for a unique Canadian identity and corresponding school of composition, the festivals served as points of contact between many artists and performers, including Juliette Gauthier and Florence Glenn. An analysis of specific performances at the CPR festivals and over the course of Glenn and Gauthier’s respective careers showcase how racialized attitudes towards Indigenous populations, and the static conceptualization of French-Canadian folk culture were navigated to perform “Canadian folksong.”

The title of the diploma thesis: Fairy Tale Themed Ballet Music in the 19th and 20th Century Focused on the Works of P. I. Tchaikovsky and S. Prokofiev This diploma thesis deals with fairy tale motifs in ballet music of the 19th and 20th century. It focuses mainly on fairy tale ballets of Peter Ilyich Tchaikovsky and Sergei Prokofiev. The first chapter deals with fairy tale themes in ballet on a more general level and advances to the concrete inclusion of these themes in the socio- historical context of the 19th and 20th century. The second chapter briefly deals with the development of ballet from its beginnings in the 15th century to the 18th century. This chapter chronologically describes important periods and events concerning ballet. The next chapter deals with ballet of the Romantic period and music of the 19th century in France and Denmark. Chapter four and five present the prominent ballets of Peter Ilyich Tchaikovsky, namely Swan Lake, Sleeping Beauty and The Nutcracker. Furthermore, this thesis focuses on ballet of the 20th century, those of Igor Stravinsky and mainly Sergei Prokofiev. Most of these ballets were created in cooperation with the patron of arts Sergei Diaghilev. The last part offers various activities that can be used in music lessons. KEYWORDS fairy tale motives, ballet...

Magistro darbo objektas – žurnalistikos mokymas Vilniaus universitete nuo žurnalistikos studijų pradžios 1949 iki 1991 m., kai Spaudos žurnalistikos bei Radijo ir televizijos žurnalistikos katedrų pagrindu buvo įsteigtas Žurnalistikos institutas. Darbo tikslas – išanalizuoti žurnalistų rengimą Vilniaus universitete nuo 1949 iki 1991 m. Išsikelti uždaviniai: apžvelgti bendrąsias sovietinės aukštojo mokslo sistemos tendencijas bei žurnalistikos akademinių padalinių formavimosi procesus; išanalizuoti kas kelerius metus kitusias studijų programas; remiantis sukauptų dokumentų analize pristatyti etatinių ir ilgesnį laiką akademiniuose padaliniuose dirbusių dėstytojų valandininkų kolektyvą; pateikti dieninio skyriaus studentų stojimo ir priėmimo statistinius duomenis. Darbe naudojami teoriniai ir empiriniai metodai: lyginamasis istorinis, dokumentų analizės, apklausos. Magistro mokslo tiriamajame darbe daugiausiai remtasi Vilniaus universiteto archyve saugomais dokumentais (rektoriaus įsakymais, Istorijos ir filologijos (nuo 1968 m. – Istorijos) fakulteto tarybos bei Žurnalistikos katedros posėdžių protokolais, personalo bylomis ir kt.): tai bene vienintelis šaltinis, suteikiantis išsamių duomenų apie 1949–1991 m. žurnalistikos studijų organizavimą ir raidą. Taip pat panaudota informacija, gauta atlikus interviu su docentais Broniumi Raguočiu ir Liubomiru Viktoru Žeimantu. Magistro darbe remtasi Vilniaus universiteto istoriją analizuojančiomis knygomis, straipsnių rinkiniais... [toliau žr. visą tekstą] / The object of master‘s thesis is the Journalism studies at Vilnius University from its beginning in 1949 to 1991 when the Departments of Printed Journalism, Radio and Television were converted to the Journalism Institute. The main objective of this thesis is to analyze the journalism education in Vilnius University from 1949 to 1991. Primary purpose is to review the main tendencies of soviet high education system and to research the processes of reorganizing the academic departments of Journalism studies. In addition to analyze the changes that took place in Journalism study programme, to represent the academic staff, to introduce the statistics revealing how many school-leavers wanted to enter studies of journalism and how many of them succeeded. The researcher used theoretical and empirical methods: comparative historical, data analysis, interview research methods. The majority of the information and data sources were found in the Archives of Vilnius University (legislations of the rectors, History and Philology Faculty’s protocols (it was reorganized to History Faculty in 1968) council and Journalism Institute’s sessions, personnel department files): it was the only valuable source providing the accurate information about Journalism studies and their development in 1949-1991. Furthermore, the researcher used the interviews with docents Bronius Raguotis and Liubomiras Viktoras Žeimantas as an information source. The master‘s theses also include information concerning the... [to full text]