Theseus and the Minotaur is a four movement, through-composed chamber work for flute, clarinet, violin, viola, cello, and double bass. The work explores elements of fear, chaos, love, and aggression.

This dissertation uses the seventeenth-century Spanish plays which employ an array of mythological stories of Theseus to analyze the Early Modern ideology of the Prince. The consideration of the different rulers in these plays highlights different aspects of these sovereigns such as their honor, prudence, valor, and self-control. Many of these princes fall well short of the ideal explained in the comedia and in the writings of the arbitristas. By employing the hylomorphic theory in which everything can exist in either its matter or its form, it is shown that in order to have the form of a prince, rulers must act in certain ways to reach that ideal or perfect state. Many princes in the plays, however, at least at certain times, only have the matter of a prince and fall short of the form. By drawing from mythological theories which describe the need for a mediation or an alleviation of an irresolvable contradiction within a society, it is shown that despite the imperfections of the flawed princes that are put on stage, these plays still defend and glorify the monarchical system in which they were created as well as the specific imperfect princes. The six plays examined here in which Theseus is a primary protagonist are El laberinto de Creta, Las mujeres sin hombres, and El vellocino de oro by Lope de Vega; Los tres mayores prodigios by Calderón de la Barca; El labyrinto de Creta by Juan Bautista Diamante; and Amor es más laberinto by Sor Juana Inés de la Cruz and Juan de Guevara. These plays span a large portion of the seventeenth century and although the authors wrote some of them for the corrales, they created others to be performed before the court.

Thesis (doctoral)--Università di Bologna, 1997. / CD-ROM contains PDF files. At head of title: Alma mater studiorum, Università di Bologna, Dipartimento di archeologia. Includes bibliographical references (p. 217-234) and index.

Two of the best known examples of the Hellenistic epyllion are the Hecale by Callimachus and poem 64 by Catullus. Both poems feature Theseus, a traditional hero whose mythology dates to Homer and Hesiod. Callimachus chose an episode from the Theseus tradition which highlighted his positive side, while Catullus picked a chapter from the mythic stores which put him in the worst possible light. This paper will examine the two poet's use of mythological material - how they suppressed, included and altered the earlier traditions - to make their very antithetical cases for Theseus. In addition to Theseus, I will examine other myths to determine if their treatment of these is consistent or at odds with their handling of Theseus. The thesis of this paper is that Callimachus had a program to present the Greek heroes of old in a favorable light and Catullus's agenda was to display their flaws. This paper will suggest that the reason for their differing viewpoints can be found, at least partly, in the contemporary historical context in which they respectively wrote.

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After a brief overview of the standard attempts to give the persistence conditions of artifacts through time and material changes, I develop and present an account which capitalizes on Koons’s theory that artifacts are in some robust and important way social practices in order to explain their persistence through time. After one unsuccessful attempt to formulate a view that is not susceptible to Ship of Theseus like problems concerning the persistence conditions of artifacts, I present the full view: artifacts become artifacts when they are arranged in a particular formal manner by someone who is engaging in a creative social practice. The artifact then remains the same artifact so long as its form is sufficiently preserved and maintained according to maintaining social practices. In this way, the social practice that unifies the artifact is like the life that unifies an organism—so long as the social practice and the form persist, the artifact is the same artifact. To conclude, I look at several problems my view cannot yet account for, such as the persistence conditions of objects that are not manmade artifacts, and the commitment to ontic vagueness that my view seems to entail. / text

Οι μεταλλαγές του Θησέα στο έργο του Ευριπίδη είναι προϊόντα της δυναμικής διαπραγμάτευσης που ο δημιουργός επιφυλάσσει στην παραδοσιακή εικόνα του μυθικού ήρωα. Συνιστούν μια μορφή που αναγκαστικά διαβάζεται σε όλη την κλίμακα των ιδεολογικών της αποχρώσεων, πρωτογενώς ωστόσο υπαγορεύεται αυστηρά από τις δραματουργικές ανάγκες του εκάστοτε έργου. Στόχος της παρούσας εργασίας είναι περισσότερο να δείξει τη δραματουργική λειτουργικότητα των διαδοχικών μεταλλαγών του ήρωα, παρά να την αποδώσει σε συνειδητές, ιδεολογικές μεθοδεύσεις του Ευριπίδη. Περισσότερο να περιγράψει την αναγκαιότητά τους και μόνο εν συνεχεία να εξετάσει τις όποιες ιδεολογικές μεταμορφώσεις αποτυπώνει για την εποχή του το ευριπίδειο έργο. / The transmutations of Theseus’ icon in euripidean corpus are products of the dynamic negotiation that the dramatist holds in store for the traditional picture of the fabulous hero. They establish a form that can perfoce be read in the whole scale of its ideological connotations, however, this form is strictly dictated by the dramaturgical needs of each work. Present dissertation’s aim is to show the dramatic function of hero’s successive transmutations, rather than attributing them to Euripides’ conscious, ideological manipulations. It seeks in the first instance to describe their necessity and only in a second level to examine the ideological transfigurations that the euripidean corpus incuses for its era.

Thesis (doctoral)--Leiden, 1917. / Includes bibliographical references.

Many of the shifts in our identity are as surprising as they are inevitable. As with our bodies and our minds, it’s easy to forget that our identities are in a constant state of change — that is, until a situation forces us to face ourselves and examine who we’ve become. For adolescents, college students included, reckonings with their sense of self come frequently; they feel seismic each time they occur. My thesis will be a short screenplay in which the central character is recovering from severe executive dysfunction, the impairment of basic skills that include working memory, mental flexibility, and inhibitory control. She will confront the question at the heart of the Ship of Theseus: have I changed enough that I am now an entirely different person than I used to be? And if so, what now? As part of the story development process, I viewed films that told compelling stories about the impact physical changes can have one one's identity. I intend for my screenplay to explore the ability of a change in mental health to do the same.

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