Zu Mozarts Zeit ermöglichte die neue wirtschaftliche, politische und kulturellen Entwicklung der habsburgischen Monarchie die neuen Anfänge der nationalen Erweckung und Aufklärung. Die Reformen der Kaiserin Theresia und ihres Sohnes, Kaisers Josef H. , beeinflußten auch das Leben in den slowenischen Ländern. Es entstanden unter anderem neue kulturelle Zirkel, die von aufklärerischen Ideen geprägt waren.

Die Mozart-Rezeption in Kroatien soll auf zweierlei Weise dargestellt werden. Der erste Teil soll den Rahmen bilden anhand der Fragen: Wo und wann erklang Mozarts Musik zum ersten Mal (unter besonderer Beachtung des 19. Jahrhunderts), und wie wurden Mozart-Jubiläen begangen? Der zweite Teil dieses Beitrags enthält das spezifische Element: Wie wurde Mozart in Kroatien aufgenommen und reflektiert, wie wurde er zu einer Inspiration für neue Werke?

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Research suggests that the first five years of life are critical for building the foundation for children’s success throughout their schooling and life. Throughout these first years of life there are a number of essential windows of opportunity during which certain kinds of stimuli are needed to help the brain develop and maintain critical connections necessary for learning. This project is a unification of a Child Development Center and a therapeutic center. This center includes children who suffer from bereavement; a broken home, death of a parent or child abuse. These children are provided with therapy by a specialist, and also given an opportunity to interact with other children as a form of therapy. This thesis therefore explores the following questions. How can design create a place that enhances learning, healing and play through interaction and movement? How can design create a space for the special needs of children without having to bind them in a classroom? How to create movement in a building that itself is static in nature?

This thesis shows that patristic interpretation of the Transfiguration had a sensitivity to visionary and ecstatic motifs within the synoptic Transfiguration narratives, and particularly Luke’s, which prompted a rich breadth of hermeneutic interaction with our texts. I offer the evidence of my survey of the reception history of the Transfiguration in the first 900 years of Christian history as a way of filling a number of gaps in knowledge in modern biblical scholarship concerning the Transfiguration narratives. This thesis begins, in Chapters 1, 2, and 3, with an appraisal of interpretation offered by modern biblical scholars, patrologists, and art historians. Critical comment often overlooks a series of ambiguities in the narratives, particularly the distinct characteristics of Luke’s version. These include the question of whether the disciples enter the overshadowing cloud, the presence of priestly or cultic imagery, visionary motifs frequently found in apocalyptic texts, such as the disciples’ drowsiness, and Peter’s confusion at not knowing what he said. Chapters 4-7 examine the earliest reception in 2 Peter, the Apocalypse of Peter, and the Acts of Peter, explore at some length Origen’s and Tertullian’s interpretation, and also look at Latin and Greek comment after Origen. I show many ancient writers to understand the disciples as experiencing ecstatic vision. Some also use cultic language appertaining to the Jerusalem Temple in their exegesis of the Transfiguration. They also employ the narrative to interpret other prophetic or visionary texts. Many of these distinguishing features of interpretation frequently stem from their attentiveness to the Lucan narrative. Chapter 8 examines the earliest artistic depictions of the Transfiguration from the sixth century onwards. This chapter indicates that many of the visionary and cultic themes we have outlined in previous chapters are frequently overlooked by art historians, and also that Luke’s narrative exercised a greater influence on representation of the Transfiguration than many people have imagined. This thesis concludes with a reconsideration of the visionary character of the Transfiguration narratives. Many of the ambiguities, overlooked details, and distinctive traits we pointed to in our opening chapters will be seen to have had much greater significance through many centuries of early hermeneutic tradition and artistic depiction than is the case in modern historical critical scholarship.

Sappho, à la charnière des VIIe et VIe siècles avant Jésus-Christ, affirmait que l'écriture rend immortel : « Mais tu mourras et tu seras gisante et personne jamais n'aura de toi un jour ni souvenance ni désir. Car tu n'as pas eu en partage les roses de Piérie ». Les poétesses grecques qui lui ont succédé, premières voix féminines que l'histoire nous a conservées, ont à leur tour cueilli les roses des Muses, auxquelles elles furent comparées. Mais que reste-t-il de cette « souvenance », quelles formes a-t-elle empruntées et quels présupposés – ou quels « désirs » – la sous-tendent ? Hormis les nombreuses éditions de textes récentes des poétesses, les rares travaux existants ne démontent pas les rouages de leur réception et portent essentiellement sur la période antique ; or, les études diachroniques sur la réception de Sappho ont montré à quel point les lectures successives en avaient déformé les traits. C'est encore plus évident pour les poétesses car, dès l'Antiquité, deux choix entrent en concurrence quand on parle d'elles : on les regroupe en fonction des formes littéraires qu'elles privilégient ou, plus souvent, en fonction de leur sexe. Nous avons cherché à savoir pourquoi, en nous focalisant sur les moments cruciaux de la naissance puis de la renaissance des poétesses, dans les pays qui les ont découvertes. Aux questions traditionnelles de la philologie (attribution, transmission, corruption) s'ajoutent donc des problématiques sur la question de la place des femmes dans le champ littéraire (quels genres peuvent-elles pratiquer ?, quelle était leur audience ?). / Sappho, who lived between the 7th and 6th centuries B.C. stated that writing could ensure immortality: “but you will die and you will lie dead, and no one will ever remember or long for you, for you did not obtain the roses of Pieria”. The Greek female poets who followed her, among the first female voices that have come down to us, next gathered the roses of the Muses, to whom they were compared. But what has remained of this remembrance, what forms has it taken, and based on what expectations? Aside from the many recent editions of the texts of these poets, the rare studies that exist have focused on Antiquity. However, diachronic studies of the reception of Sappho have shown that the reading of her work has changed. This is even clearer in the case of the later poets: since Antiquity, they have been grouped together either in terms of the literary forms they adopted or, more often, in terms of their sex. This study attempts to understand why, by focusing on the reception of the Greek female poets in the ancient world and in the countries that later rediscovered them. In addition to the traditional philological questions (attribution, transmission, corruption) it examines the issue of the place of women in literature (the literary genres they could adopt, their audience).

This thesis in Spanish philology consists of three main parts. The first part represents an in-troduction to Miguel de Unamuno's and Ernest Renan's philosophy, an interpretation of both thinkers' writings in the context of their life stories and the values they defended. The second part is focused on the Czech reception of Ernest Renan between 1864 and 1948. The third part is dedicated to the Czech reception of Miguel de Unamuno between 1922 and 1948. Powered by TCPDF (www.tcpdf.org)

Nous exposerons dans notre thèse, les éléments déterminants liés à la tradition imagée du Petit chaperon rouge, et aux supports qui lui sont associés, afin de mieux les mettre en perspective avec l'objet de notre étude : voir dans quelle mesure les livres illustrés, albums et autres supports espagnols hébergeant le conte, s’inscrivent à l’intérieur d’une tradition iconographique que nous pourrions qualifier d’européenne,ou en quoi, au contraire, ils rompent avec cette tradition. / We will expose in our thesis, the determining elements related to the pictorial tradition of Little Red Riding Hood, and the media associated with it, to better place them in perspective with the object of our study: to what extent books, illustrated albums and other Spanish media hosting storytelling, enroll in within an iconographic tradition that we might call European, or how, on the contrary, they break with this tradition.

Pourquoi une thèse sur Rabelais, en 2012 ? Certes : en apparence on ne présente plus l’écrivain, qui s’inscrit ànotre Panthéon, sans conteste, comme l’un des « pères » de la littérature française. Pourtant, le constat quifonde notre propos, c’est qu’il y a, justement, une nécessité urgente à réintroduire Rabelais. Auprès du grandpublic – parce que les lecteurs la délaissent, souvent induits à penser qu’elle est illisible ou inactuelle. Leréintroduire, aussi, dans le discours de la critique généraliste, dont les recherches les plus stimulantes tendent àrejeter Rabelais, et son époque dans la sphère du non-littéraire. C’est aussi ce que les rares études sur laréception de l’écrivain indiquent : en suggérant qu’au-delà d’une série de reprises ponctuelles ou d’imitationsde second rang, l’auteur n’aurait pas eu de réelle postérité chez les écrivains modernes – et qu’il se serait heurtéà un « malentendu », sinon à une déconcertante « défiguration ». En somme, à l’époque moderne, l’oeuvre deRabelais s’identifie insidieusement à un objet du patrimoine : plus qu’à un objet littéraire – de rechercheslittéraires. Et en 2012, malgré soi, l’on en viendrait à reprendre les conclusions amères de Céline : que Rabelaisa « raté son coup ». Alors que faire ? Notre thèse sur les « fils de Rabelais », envisageant successivement les casde Nerval et d’Apollinaire, entend récuser ce constat accablant. En réhabilitant la notion de « fils » enlittérature, nous montrerons que Rabelais possède bel et bien une postérité dans la littérature moderne : qu’auXXIe siècle, son oeuvre réussit encore à faire parler d’elle – et à inspirer de nouveaux regards critiques. / Why present a thesis on Rabelais in 2012? Clearly, at first sight, we no longer need to showcase a writer who has undoubtedly earned his place in our Pantheon as one of the "fathers" of French literature. Yet, our whole thesis is based on the premise that there is a pressing need to revitalise Rabelais in our literary consciousness. Readers neglect his work – often led to believe that it is unintelligible or outdated – and the trend in the most stimulating of critical studies is to reject Rabelais and his era into the non-literary sphere. This is what the rare studies of how the writer was received show : they suggest that, aside from a series of one-off replications or substandard imitations, the author is not really a source of inspiration to modern writers – his legacy has come up against "misunderstanding" and has even bafflingly been "distorted". In short, in our modern age, Rabelais' work is insidiously identified as part of our heritage, rather than literary matter or a subject for literary study capable of inspiring critics and writers. If, in 2012, against our better judgment, we are tempted to concur with Céline's bitter conclusions: that Rabelais "failed in his design ". What should we do about it? The aim of our thesis on the "sons of Rabelais" is to challenge this damming conclusion, by considering successively Nerval’ and Apollinaire’ cases. Through a rehabilitation of the notion of a literary descendant or “son”, we will show that there is a clear thread between Rabelais and modern literature, and that in the 21st century, his work can still, and always still, succeed in attracting debate and discussion – inspiring fresh critical thought. Keywords : Rabelais – Nerval – Apollinaire – filiation – reception – posterity – analogy – manner.