The purpose of this thesis is to examine what Joseph Weldon Bailey, a speaker of recognized ability, did in his congressional and campaign speeches to persuade people to his point of view.

Oration 30 (Or. 30) has been commonly used in scholarship as positive affirmation of religious violence and temple destruction in late Antique Syria. This view of widespread violence in late 4th century Syria was previously supported by scholarship on temple destruction and conversion, which tended to argue that temple destruction and conversion was a widespread phenomenon in the 4th and 5th centuries. Recent archaeological scholarship, however, argues against this perspective, in favour of temple destruction and conversion being a rather exceptional and late phenomenon. The question must therefore be asked, to what extent can Libanius’ Or. 30 be used as a source of temple destruction in the Antiochene countryside in Late Antiquity? This question is explored through three chapters which examine: the text and context of Or. 30, the use and application of Roman law in Or. 30, and the archeological evidence for temple destruction and conversion in the Antiochene countryside. This research has revealed that Libanius tends to use similar arguments in his ‘reform speeches,’ that there was no legal basis for temple destruction in the late 4th century, and that there is no archaeological evidence for widespread temple destruction occurring around the composition of Or. 30. Thus, the evidence shows that Libanius’ claim of widespread violence must be seen as an exaggeration. Meaning that Or. 30 cannot be used to support the idea of widespread destruction and religious violence in the Antiochene countryside at the end of the 4th century or, for that matter, Late Antiquity in general.

Oration 30 (Or. 30) has been commonly used in scholarship as positive affirmation of religious violence and temple destruction in late Antique Syria. This view of widespread violence in late 4th century Syria was previously supported by scholarship on temple destruction and conversion, which tended to argue that temple destruction and conversion was a widespread phenomenon in the 4th and 5th centuries. Recent archaeological scholarship, however, argues against this perspective, in favour of temple destruction and conversion being a rather exceptional and late phenomenon. The question must therefore be asked, to what extent can Libanius’ Or. 30 be used as a source of temple destruction in the Antiochene countryside in Late Antiquity? This question is explored through three chapters which examine: the text and context of Or. 30, the use and application of Roman law in Or. 30, and the archeological evidence for temple destruction and conversion in the Antiochene countryside. This research has revealed that Libanius tends to use similar arguments in his ‘reform speeches,’ that there was no legal basis for temple destruction in the late 4th century, and that there is no archaeological evidence for widespread temple destruction occurring around the composition of Or. 30. Thus, the evidence shows that Libanius’ claim of widespread violence must be seen as an exaggeration. Meaning that Or. 30 cannot be used to support the idea of widespread destruction and religious violence in the Antiochene countryside at the end of the 4th century or, for that matter, Late Antiquity in general.

Oration 30 (Or. 30) has been commonly used in scholarship as positive affirmation of religious violence and temple destruction in late Antique Syria. This view of widespread violence in late 4th century Syria was previously supported by scholarship on temple destruction and conversion, which tended to argue that temple destruction and conversion was a widespread phenomenon in the 4th and 5th centuries. Recent archaeological scholarship, however, argues against this perspective, in favour of temple destruction and conversion being a rather exceptional and late phenomenon. The question must therefore be asked, to what extent can Libanius’ Or. 30 be used as a source of temple destruction in the Antiochene countryside in Late Antiquity? This question is explored through three chapters which examine: the text and context of Or. 30, the use and application of Roman law in Or. 30, and the archeological evidence for temple destruction and conversion in the Antiochene countryside. This research has revealed that Libanius tends to use similar arguments in his ‘reform speeches,’ that there was no legal basis for temple destruction in the late 4th century, and that there is no archaeological evidence for widespread temple destruction occurring around the composition of Or. 30. Thus, the evidence shows that Libanius’ claim of widespread violence must be seen as an exaggeration. Meaning that Or. 30 cannot be used to support the idea of widespread destruction and religious violence in the Antiochene countryside at the end of the 4th century or, for that matter, Late Antiquity in general.

Esta dissertação tem como objetivo apresentar a tradução do diálogo Menêxeno, de Platão, acompanhada de notas críticas com o intuito de auxiliar a leitura do texto, e de um estudo sobre os principais temas e problemas suscitados pela obra, sobretudo no que concerne aos anacronismos e distorções presentes na oração fúnebre platônica e sua possível relação com o discurso atribuído a Péricles presente no Livro II da História da Guerra do Peloponeso, de Tucídides / This dissertation aims to present the translation of Platos Menexenus, accompanied by critical notes in order to assist the reading, and a study of the main topics and issues raised by the work, especially with regard to the anachronisms and distortion in Plato\'s funeral oration and its possible relation with the speech attributed to Pericles present in Book II of the History of the Peloponnesian War, by Thucydides

The thesis discusses the structure of thought of the early modern period world view focusing on the female ideal scheme in urban environment. The funeral sermon file within this time period became the source of the thesis. The theoretical part offers a literature overview and then a general introduction to the funeral sermons, taking into account the nature of the literature formation. The practical part deals with the analysis of female perpective themes in the field of funeral sermons. This section is divided into several subchapters. Primarily there is a space devoted to basic elements which used to form a part of female existance. These elements in their final consistency refer to the nature of women´s predicament in the early modern world. Furthermore the thesis devotes space to basic ideas of funeral sermons which fundamentally were involved in the construction of the text and simultaneously shape its entire character. The conclusion was left to the edition of funeral sermons themselves.

Esta dissertação tem como objetivo apresentar a tradução do diálogo Menêxeno, de Platão, acompanhada de notas críticas com o intuito de auxiliar a leitura do texto, e de um estudo sobre os principais temas e problemas suscitados pela obra, sobretudo no que concerne aos anacronismos e distorções presentes na oração fúnebre platônica e sua possível relação com o discurso atribuído a Péricles presente no Livro II da História da Guerra do Peloponeso, de Tucídides / This dissertation aims to present the translation of Platos Menexenus, accompanied by critical notes in order to assist the reading, and a study of the main topics and issues raised by the work, especially with regard to the anachronisms and distortion in Plato\'s funeral oration and its possible relation with the speech attributed to Pericles present in Book II of the History of the Peloponnesian War, by Thucydides

Made available in DSpace on 2016-04-26T20:23:23Z (GMT). No. of bitstreams: 1 Alexandre Andreta dos Santos.pdf: 933190 bytes, checksum: b27f4ffee26b774386c08f46eaae78ce (MD5) Previous issue date: 2014-11-18 / This research aimed to address the dignity of man under a historical-philosophical approach along a timeline. The chapters follow the chronological order of history, starting with Presocratics and culminating in Giovanni Pico della Mirandola, the Humanist movement and the Renaissance. It is examined what freedom and free will meant in each time period and the unrest brought by that thinker even before the philosophers of ancient Greece. As the topic evolves throughout history it seems to deconstruct the social pyramid of Plato, suggesting greater flexibility and easy transit among classes. This leads man to a sense of freedom never experienced before. The bourgeois catalyze this movement in Humanism, funding philosophers devoted to the subject, like Giovanni Pico della Mirandola. In his Oration, Mirandola introduces a unique vision of the dignity, treating it as something immanent to man, a divine gift that could not be disrupted even by God. His thinking promotes the development of mercantilism and encourages commercial and maritime practices whose interesting results pleased the bourgeoisie and assured them they were on the right path / Esta pesquisa teve como escopo percorrer a linha do tempo sob o enfoque histórico-filosófico acerca da dignidade do homem. Os capítulos seguem a ordem cronológica da história, iniciando nos pré-socráticos e culminando em Giovanni Pico della Mirandola, no movimento Humanista e no Renascimento. Examina-se o que significou a liberdade e o livre-arbítrio em cada período e a perturbação trazida por ele antes mesmo dos filósofos da Grécia antiga. A evolução do tema no transcorrer na história parece desconstruir a pirâmide social de Platão, sugerindo uma maior flexibilidade e facilidade no tramitar entre as classes desta pirâmide, impingindo no homem uma sensação de liberdade nunca antes experimentada. Os burgueses catalisam este movimento no Humanismo, financiando filósofos dedicados ao assunto como Giovanni Pico della Mirandola que, em sua Oratio traz uma visão inédita acerca da dignidade, tratando-a como algo imanente ao homem, um dom divino que não poderia ser perturbado nem mesmo por Deus. Seu pensamento facilita o desenvolvimento do mercantilismo e incentiva práticas comerciais e marítimas cujos resultados interessantes à burguesia trouxeram a certeza de ser esse o caminho correto

Cette thèse est une étude à la fois globale et détaillée consacrée aux recueils de poésie funèbre imprimés en Italie, en France et dans les Îles britanniques entre 1587 et 1644. Les recueils de poésie funèbre nécessitent une approche comparatiste, à plusieurs titres. Du point de vue linguistique et culturel tout d'abord, l’on remarque que ce sont des ouvrages polyglottes. En outre, du point de vue esthétique, ils font appel aux ressources de la littérature et des beaux-arts (gravures), en partie parce que les textes qu'ils contiennent ont souvent fait partie du monument funèbre lui-même, ce qui encourage à les relier aux programmes iconographiques élaborés au cours des funérailles. Enfin, ces « tombeaux poétiques » sont avant tout une œuvre qui émane d’un groupe d’auteurs, ce qui mène à les analyser non seulement comme œuvre littéraire, mais aussi comme des témoignages précieux sur l’histoire de la littérature. Cette thèse commence par montrer quelles sont les origines de cette pratique, notamment comment divers modèles de recueils funèbres furent élaborés à partir du Quattrocento, d'abord en Italie, puis dans les deux autres pays. Au terme de cette évolution, à la fin du seizième siècle, on peut affirmer que les trois pays disposent d'un socle culturel commun à partir duquel se constituent ces recueils. Le chapitre suivant analyse comment ces recueils évoluèrent des années 1580 à 1644, quelle était l’identité des défunts commémorés et qui élaborait ces ouvrages. La variété des formes et des discours sur la mort est ensuite examinée. Puis, à travers des études de cas, les enjeux de l’écriture collective sont étudiés. Enfin, les rapports entre ces ouvrages imprimés et les funérailles sont examinés. / This dissertation is both a global and detailed study dedicated to collections of funeral verse published in Italy, France and the British Isles between 1587 and 1644. It follows a comparative approach, for several reasons. Firstly, because these works were written and published in several languages. Secondly, because of the number of engravings they contain and the close relationship they often bear to the fine arts. Since many of the poems printed within these works were first pinned to funeral hearses or catafalques, they must be considered in the light of funerary art and architecture. Thirdly, these works warranted a sociological and historical analysis because of their collective nature: they are the product of a group of authors, whose ideals and aspirations they embody. The initial part of this study presents the development of this type of funerary commemoration from its origins in late Quattrocento Italy to its later expressions in mid-sixteenth-Century England and France. The second chapter examines the evolution of these collections from the 1580s to the 1640s, as well as the identity of the deceased and their commemorators. The third chapter gives an overview of the great formal and rhetorical variety of the poems published in these collections. The case studies in chapter four illustrate how and why groups of authors assembled in order to conceive collections of funeral poetry. Finally, the last chapter is a brief survey of the relationships that these works bear with different types of funeral ceremonies.

English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.