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Mallet, Lorilee. "Les poètes jardiniers. L’Arcadie dans l’imaginaire des jardins du XVIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040004.
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Le thème de l’Arcadie figure dans un grand nombre du jardins au XVIIIe siècle. Le tableau de Poussin Les Bergers d’Arcadie et la formule Et in Arcadia Ego sont indissociables, de nos jours, à la vision du locus Arcadie. Cependant, il n’y a aucune preuve que notre réception actuelle du tableau corresponde aux intentions de Poussin, ni à la vision du locus au XVIIIe siècle. Une appréciation de la réception du thème de l’Et in Arcadia Ego et de ses variantes au XVIIIe siècle s’avère utile, afin de comprendre la reprise de ce thème par les jardiniers de l’époque. Nous proposons d’examiner en détail l’évolution dans le temps de ce thème, dans la peinture, dans la poésie et dans les jardins. Nous mènerons un recensement des membres étrangers de l’Accademia degli Arcadi de Rome et de leurs jardins. Cette académie, à ses origines, était une association de poètes qui se réunissaient dans les jardins ou en plein air à la campagne afin décomposer et de réciter leurs œuvres, souvent liées aux thèmes de la nature. Nous sommes partis de l’hypothèse que cette académie serait l’un des vecteurs possibles de la diffusion du thème arcadien en Europe aux XVIIIe siècle. Les jardins que nous examinerons, tous au thème de l’Et in Arcadia Ego,appartiennent ou furent conçus, en dehors de l’Italie, par un Pastor ou Pastorella d’Arcadia (un membre de l’Accademia degli Arcadi)The arcadian theme is prevalent in a large number of eighteenth-century gardens. Poussin’s painting TheArcadian Shepherds and the enigmatic ‘Et in Arcadia Ego’ are now indissociable from our vision of thelocus Arcadia. Nevertheless, there is no proof that our actual reception of the image corresponds to Poussin’s intentions, or to the vision of this locus in the eighteenth-century. An appreciation of thereception of the theme of Et in Arcadia Ego and it’s eighteenth-century variants is useful, in order tounderstand the adoption of the theme by the gardeners of the period. We propose to examine in detail it’sevolution over time, in painting, poetry and landscape. We will conduct an identification and census of theforeign (non-Italian) members of the Accademia degli Arcadia of Rome and their gardens. This academy, atit’s origin, was an association of poets who met in gardens and in the surrounding countryside in order tocompose and recite their work, which dealt frequently with themes from nature. We are working under thehypothesis that this academy was a possible vector for the propagation of the arcadian theme in theeighteenth century garden. The gardens which we examine in detail each deal specifically with the theme ofEt in Arcadia Ego and apart from two exceptions are either created by, or in collaboration with, a foreignArcadian Pastor or Pastorella.(designation of a member of the Accademia degli Arcadi)
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Duncan, John. "The Convergance of Arcadia." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/33.
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The Convergence of Arcadia is a story about people losing things. Stretching from the Jim Crow South, the Korean War, New York City and central Kentucky circa 1980, this story follows a one armed man who has given up on life, a sheriff haunted by his past, a Korean War veteran with a terrible secret and a family broken from suicide. The Convergence of Arcadia follows three families as their fates are inextricably wove together in the tradition of Southern Gothic literature.
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Goss, Stephen. "Musical composition : 'Dreamchild' and 'Arcadia'." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313725.
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Collin, Franck. "Pan Arcadia mecum si iudice certet." Paris 4, 2005. http://www.theses.fr/2005PA040023.
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Cette thèse vise à donner corps à la notion d'Arcadie chez Virgile en appliquant les méthodes de la stylistique et de la métrique. Souvent confondue avec l'idylle théocritéenne, ou avec l'Âge d'or, l'Arcadie, récurrente dans les trois recueils virgiliens, apparaît comme une utopie idéale mais fuyante, car échappant à toute définition homogène. Le choix de cette contrée grecque du Péloponnèse, austère et isolée, repose chez notre poète sur un substrat mythique arcadien très riche qui englobe la naissance du lyrisme, les récits archéologiques des temps primitifs de l'homme, et l'aspiration à l'otium pastoral, au moment où grondent les guerres civiles. La croyance dans les origines arcadiennes de Rome, diffusées par les légendes oenotriennes, était attestée par les historiens contemporains. Virgile choisit donc de représenter une Arcadie latine, qui sera une chance nouvelle pour l'Italie. Cette Arcadie, qui naît comme un manifeste poétique dans les Bucoliques, est une hypotypose utopique prenant en référence le lyrisme de Pan, c'est-à-dire une poésie de l'éloge à la vie, fondée sur l'enchantement de la forêt, sur l'écho et l'illusion, sans que soient négligées pour autant les souffrances humaines. Cette polyphonie de la nature va au-delà des habitudes de la poésie antique narrative, et l'on peut parler à son sujet de poésie pure, au sens moderne. Mais Virgile entend aussi construire son Arcadie : il lui donne une dimension sociale, basée sur le travail agricole, et capable d'assurer le bien-être ; il refonde enfin Rome sur le mythe d'Evandre, précurseur d'Auguste, pour effacer le fratricide originel, et croire en un renouveau des temps. L'Arcadie est ainsi une utopie active profondément inscrite dans la pensée de Virgile qui présente sur ce point une évolution continue et cohérenteThis thesis aims at giving shape to the notion of Arcadia in Virgils works by applying the methods of stylistics and metrics. Often merged with the Theocritean idyll, or with the Golden age, Arcadia, recurring in three Virgilian poetic collections, appears as an ideal but elusive utopia, because of escaping any homogeneous definition. The choice by our poet of this part of the Greek country of Peloponnesus, austere and isolated, is founded on a very rich mythical Arcadian substratum which contains the birth of the lyricism, the archaeological narratives of the primitive times of man, and the pursuit of the pastoral otium, as the civil wars mutter. The faith in the Arcadian origins of Rome, spread by the Enotrian legends, was attested by the contemporary historians. Virgil thus chooses to represent a Latin Arcadia, which will be a new chance for Italy. This Arcadia, which is born as a poetic manifesto in The Bucolics, is a utopian hypotyposis taking in reference the lyricism of Pan, which is a Poetry of eulogy of life, based on the forest enchantment, on the echo and the illusion, but which does not neglect, for all that, the human sufferings. This polyphony of the nature goes beyond the habits of the antique narrative poetry, and we can speak to its subject of pure poetry in the modern sense of the words. But Virgil also intends to build his Arcadia: he gives it a social dimension, based on the agricultural work, and capable of assuring the well-being; he eventually refounds Rome on the myth of Evander, precursor of August, to erase the original fratricide, and to believe in a revival of times. Thus, Arcadia is an active utopia, profoundly registered in Virgils thought, which presents on this point a continuous and coherent evolution
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Auckbur, Andy. "Lire la nature dans Arcadia de Sir Philip Sidney : une esthétique du détail." Thesis, Reims, 2017. http://www.theses.fr/2017REIML002.
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Dans Arcadia de Sir Philip Sidney (1554-1586), les représentations de la nature témoignent de la richesse de l’univers artistique de l’auteur. Le titre de l’œuvre suggère que le socle esthétique sur lequel repose la mimesis sidnéienne est ancré dans l’imitation de la tradition poétique pastorale. L’imitation littéraire est certes au cœur du processus de création sur lequel repose la composition de l’œuvre. Cependant, le texte de Sidney est bien plus qu’une autre Arcadie littéraire inspirée des Bucoliques de Virgile ou de L’Arcadie de Jacopo Sannazaro. Le texte fait s’imbriquer les récits héroïques qui empruntent à l’épopée les repères esthétiques sur lesquels reposent l’évocation du locus terribilis, vision antagoniste du locus amoenus. L’œuvre est donc animée par une passion pour la fiction au point que la littérature et la lecture se substituent à l’intrigue en tant que sujet même de l’œuvre. Cette conception de la création littéraire comme acte réflexif imprègne la représentation de la nature qui devient donc dans certains passages un texte dans le texte, une nature textualisée. Le champ de la réflexivité s’étend à d’autres domaines de la création artistique et notamment aux arts plastiques dont l’esthétique informe à la fois la représentation de la nature et la matière verbale de l’œuvre. L’affinité entre les formes verbales et les formes visuelles est sous-tendue par une esthétique commune que l’on doit replacer dans le contexte du mouvement du maniérisme. Paradoxalement, l’unité de cette œuvre protéiforme réside dans sa fragmentation dont résulte une esthétique du détail. L’énergie créative de l’auteur s’illustre en effet dans la représentation de petites natures dont l’esthétique témoigne de la beauté de son univers artistiqueIn Philip Sidney’s Arcadia, the representations of nature testify to the diversity and wealth of the author’s artistic world. The title of the literary work suggests that the aesthetic foundations on which the Sidneyan mimesis lies are rooted in the imitation of the pastoral poetic tradition. Literary imitation lies at the core of the creative process from which the text proceeds. Yet, Philip Sidney’s work goes beyond the vision of nature as locus amoenus associated with Virgil’s Bucolics or Jacopo Sannazaro’s own Arcadia. The text features embedded narratives recounting heroic tales which draw on the epic literary tradition and lead to the representation of nature as locus terribilis. The passion for fiction with which Arcadia is imbued leads to a shift from the plot to the essence of literature as the main focus of Sidney’s work. This conception of literary creation as a reflexive praxis pervades the representation of nature which, in parts of the text, becomes a text within the text, a textualized nature. The spectrum of the reflexive dynamics encompasses several artistic areas including the plastic arts which inform both the aesthetics of the representation of nature and that of the verbal matter. The correspondences between the visual forms and the verbal ones spring from a common aesthetics which ties to the artistic context of mannerism. Paradoxically, the unity of this multifarious work lies in its fragmented dimension from which derives an aesthetics of the detail. Indeed, the illustration of author’s creative energy resides in the depictions of a small-scale nature and minute details which illustrate the beauty of his artistic environment
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Schneider, Regina. "Sidney's 'Arcadia' : prose romance or proto-novel?" Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324580.
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Mitchell, J. M. "Gender and identity in Philip Sidney's Arcadia." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370418.
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Lau, King, and 劉兢. "Postmodern performance in Tom Stoppard's Travesties and Arcadia." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26832501.
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Wilson, Edward. "Sidney's Arcadia and the early modern reader, 1586-1660." Thesis, University of Cambridge, 2008. https://www.repository.cam.ac.uk/handle/1810/252109.
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Seirlis, Julia Katherine. "Arcadia : urban space and 'coloured' identities in Harare, Zimbabwe." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342800.
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Preston, Claire E. "Emblematic pictorialism and narrative structure in New Arcadia and Pericles." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293441.
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Bergvall, Åke. "The "Enabling of Judgement" : Sir Philip Sidney and the Education of the Reader." Doctoral thesis, Uppsala universitet, 1989. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26292.
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Hale, Harris Kimberly Coulter. "Poetry and Patronage: Alessandro Scarlatti, The Accademia Degli Arcadia, and the Development of the Conversazione Cantata in Rome 1700-1710." Thesis, Connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/Open/hale%5Fharris%5Fkimberly/index.htm.
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Renucci, Léa. "L'Arcadia per lettera : sociabilités épistolaires et réseaux académiques en Italie au XVIIIe siècle." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0096.
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Dédiée à la poésie pastorale et critique envers l’exubérance du style baroque du siècle précédent, l’Arcadie est fondée le 5 octobre 1690 à Rome par l’initiative de quatorze hommes de lettres qui fréquentaient l’Académie Royale de Christine de Suède et l’académie romaine des Infecondi. Giovan Mario Crescimbeni (1663-1728), premier gardien général de l’Arcadie, donne à cette académie une dimension péninsulaire par la création d’implantations locales nommées colonies, fondées par initiatives individuelles d’académiciens dans de nombreux centres urbains italiens, et plus ponctuellement dans d’autres villes d’Europe, et ce dès 1692 à Arezzo. L’originalité de l’Arcadie réside dans sa capacité à établir un vaste réseau institutionnel à l’échelle de la péninsule et d’unir un groupe de plus de 9 600 hommes et de femmes de lettres entre 1690 et 1800 : comment le modèle arcadique s’est-il adapté aux divers contextes locaux et de quelle façon les initiatives individuelles ont-elles organisé la création et la pérennisation des colonies ? Comment l’Arcadie œuvre-t-elle à la constitution des « milieux intellectuels » locaux en proposant une formalisation des groupes lettrés par les colonies ? En quoi l’académie d’Arcadie réussit-elle à associer des milliers d’hommes et femmes de lettres des divers centres urbains italiens, et d’Europe, dans un contexte intellectuel de désir de coopération des lettrés italiens ? Quels sont les effets de ce réseau sur la production de livres et la circulation de textes à l'échelle de la péninsule ? Cette thèse se propose d’étudier l’Arcadie par différentes approches, du niveau local aux échelles péninsulaire et européennes, à partir des quelques milliers de lettres échangés entre l’Arcadie romaine et les coloniesDedicated to pastoral poetry and critical of the exuberance of the Baroque style of the previous century, the academy of Arcadia was founded in Rome on 5 October 1690 by the initiative of fourteen men of letters who attended the Royal Academy of Christine of Sweden and the Roman academy of the Infecondi. Giovan Mario Crescimbeni (1663-1728), the first General Guardian of the Arcadia, gave this academy a peninsular dimension through the creation of local settlements called colonies, founded by individual initiatives of academics in many Italian urban centres, and more occasionally in other European cities, as early as 1692 in Arezzo. The originality of Arcadia lies in its ability to establish a vast institutional network on the scale of the peninsula and to unite a group of more than 9,600 men and women of letters between 1690 and 1800: how did the Arcadian model adapt to the various local contexts and how did individual initiatives organize the creation and perpetuation of the colonies? How did Arcadia work to build up local intellectual circles by proposing a formalisation of literary groups by the colonies? In what way did the Academy of Arcadia succeed in bringing together thousands of men and women of letters from the various Italian urban centres, and from Europe, in an intellectual context of desire for cooperation among Italian scholars? What are the effects of this network on the production of books and the circulation of texts throughout the peninsula? This thesis proposes to study Arcadia through different approaches, from the local level to the peninsular and European scales, based on the several thousand letters exchanged between Roman Arcadia and the colonies
Dedicata alla poesia pastorale e critica dell'esuberante stile barocco del secolo precedente, l'Arcadia è fondata il 5 ottobre 1690 a Roma, su iniziativa di quattordici letterati che si frequentavano all'Accademia Reale di Cristina di Svezia e all'Accademia romana degli Infecondi. Giovan Mario Crescimbeni (1663-1728), primo custode generale dell'Arcadia, dà a questa accademia una dimensione peninsulare creando insediamenti accademici locali chiamati colonie, fondati per iniziativa individuale di accademici in vari centri urbani italiani, e più puntualmente in altre città europee, già nel 1692 ad Arezzo. L'originalità dell'Arcadia risiede nella sua capacità di stabilire una vasta rete istituzionale a livello della penisola e di unire gruppi di uomini e donne di lettere nei diversi centri urbani. Questa tesi di dottorato in storia sociale si propone di indagare come si sia costituita la rete istituzionale dell'Arcadia, di dimensione regionale e tran-statale, a partire dagli uomini e dalle donne di lettere che l'hanno formata, tra il 1690 e il 1800: come si sia adattato il modello arcadico ai diversi contesti locali e in che modo alcune iniziative individuali abbiano portato alla creazione delle colonie? Come l'Arcadia permette la costituzione di "milieux intellettuali" locali proponendo di formalizzare i gruppi attraverso le colonie? In che modo l’accademia dell’Arcadia riesce ad associare migliaia di uomini e donne di lettere provenienti dai centri urbani italiani, e dall’Europa, in un contesto intellettuale mosso dal di desiderio di cooperazione dei letterati italiani? Questa tesi si propone di studiare l'Arcadia attraverso diversi approcci, dal livello locale a quello peninsulare, fino a quello europeo e globale, con le migliaia di lettere scambiate tra l'Arcadia romana e le colonie
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Raizen, Karen Tova. "Adaptations in Arcadia| "Orlando Furioso" on the Eighteenth-Century Operatic Stage." Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10633261.
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This dissertation explores operatic adaptations of Orlando JR furioso in the eighteenth century, particularly as they relate to the Arcadian Academy. Whereas the seventeenth century witnessed only a handful of Furioso-themed operas, the eighteenth century was a veritable geyser of operatic Orlando; dozens of libretti were produced on the subject, leading to an eighteenth-century craze for the crazed, staged Orlando. The most celebrated and most diffused operatic adaptations of the Furioso were produced by members of the highly influential Arcadian Academy, an institution that aimed to establish a literary (and therefore social, cultural, and political) reign of good taste and reason throughout the European continent. This dissertation probes why and how Arcadians, self-proclaimed harbingers of eighteenth-century reason, were so invested in the operatic depiction of a Renaissance madman. I am interested not only in the intertextual threads of operatic Orlando that is, how librettists and composers translated sixteenth-century sensibilities to the eighteenth-century stage—but also how these intertextual threads can be read for their broad cultural resonances. Operatic Orlando, in his many permutations, is emblematic of the complexities and contradictions espoused by the Arcadian Academy, and, as such, is crucial to the shaping of an eighteenth-century ethos.
This dissertation consists of five chapters. The first chapter explores the different ways in which Arcadians understood madness, in its myriad manifestations. Rather than focusing specifically on opera, I cast a wide net in my discussion in order to holistically approach Arcadian theories and practices: through an examination of early Arcadian writings I identify threads and currents that likely formed the text/texture for the operatic Orlando craze. Chapter 2 focuses more specifically on Arcadian opera, if such a concept truly existed: drawing from the works of scholars of music history such as those of Freeman, Strohm, and Smith, I explore the conventions of eighteenth-century opera and contextualize them within the frame of the Arcadian Academy and its reform culture. Chapters 3, 4, and 5 form the analytical body of the dissertation, as they each probe the conditions and textual questions of specific adaptations of the Furioso. I consider the libretti discussed in each of these chapters to be `ur-adaptations,' in that they were each performed—and often modified—numerous times in diverse locales, serving as textual bases for many of the eighteenth-century Furioso adaptations. In these chapters I perform both historical analyses and close readings of texts, as well as musical analyses and examinations of related textual objects. Thus in Chapter 3 I read Grazio Braccioli's libretto Orlando furioso (1713) as well as his related libretto Orlando finto pazzo (1714), and explore the musical settings of composer Antonio Vivaldi as they were performed at the Teatro Sant'Angelo in Venice; in Chapter 4 I turn to Rome, with Carlo Sigismondo Capece's libretto Orlando ovvero la gelosa pazzia (1711), and follow the work to its London iteration Orlando (1733), which was set to music by George Frideric Handel; finally, in Chapter 5 I analyze Pietro Metastasio's serenata L'Angelica (1720) within the context of the court of the Holy Roman Emperor, and explore its resonances throughout Europe.
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Francoeur, Ariel. "Even in Arcadia: directing a modern masterpiece in an educational environment." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3087.
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A self-analysis of the work of a theater director on the play Arcadia, by Tom Stoppard. Through a detailed retelling of all aspects of the production—research, design, script work, rehearsals, and performance—artist strengths and weaknesses are identified, and lessons are articulated that can be applied to future productions of Arcadia, and subsequent work of the director.
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Ngwepe, Mantlo Richard. "Evaluating rainwater harvesting and conservation techniques on the Towoomba/Arcadia Ecotope." Thesis, University of Limpopo, 2015. http://hdl.handle.net/10386/1407.
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Thesis (M.Sc.(Agronomy)) --University of Limpopo, 2015The changes in climate, especially poor rainfall patterns and distributions are key issues posing major agricultural challenges for food security and threaten the rural livelihoods of many communities in the Limpopo Province. Rainfall (P) is low and limited. These limited P is mostly lost through runoff and evaporation, which result in low soil moisture availability and possible crop failure. Therefore, techniques that reduce these water losses are important for improving dryland crop production and rainwater productivity (RWP). The objectives of this study were to determine the potential and effectiveness of rainwater harvesting and conservation techniques (RWH&CT’s) to conserve and improve plant available water (PAW) for dryland maize production and also determine the efficiency of the RWH&CT’s to improve dryland maize yield and RWP compared to conventional tillage (CON). The study was conducted over a period of two growing seasons (2008/09; 2009/10) using maize as indicator crop at the Towoomba Research Station of the Limpopo Department of Agriculture in the Limpopo Province of South Africa, on an Arcadia ecotope. The experiment was laid out in a randomized complete block design, with four replications and five treatments. The five treatments used in the study were; conventional tillage (CON), No-till (NT), In-field rainwater harvesting (IRWH), Mechanized basins (MB) and Daling plough (DAL). The IRWH and DL were classified as rainwater harvesting techniques (RWHT’s), whilst MB and NT were classified as water conservation techniques. Two access tubes were installed at each treatment to measure the soil water content (SWC) at four different soil depths of 150, 450, 750 and 1050 mm using the neutron water meter. The data collected included climatic data, soil and plant parameters. The data were subjected to analysis of variance through NCSS 2000 Statistical System for Windows and GENSTAT 14th edition. Mean separation tests were computed using Fisher's protected least significant difference test. The SWC of IRWH, DAL and MB were about 510 and 490 mm higher compared to CON and NT treatment during the 2008/09 and 2009/10 seasons, respectively. The PAWT of the IRWH, MB and DAL was significantly different from the CON treatment during the 2008/09 season. For both seasons the biomass yield of the IRWH treatment was significantly different from the NT treatment, producing 23 and 50% more biomass in the 2008/09 and 2009/10 growing seasons, respectively. The grain yield under IRWH was significantly different from the NT treatment during both 2008/09 and 2009/10 seasons. The highest maize grain yield of IRWH was achieved during the 2009/10 season with 56% higher grain yield than the NT treatment. RWP from various RWHT’s were significantly different from the NT treatment. These results indicate that IRWH and DAL were 12 and 2% more effective in converting rainwater into harvestable grain yield than the CON treatment. R2 values of 68.6 and 78.4% for SWC and transpiration (Ev) were obtained when correlated with maize grain yield respectively. This indicates the importance of moisture conservation for improved dryland maize production under low P areas. Therefore, the use of appropriate RWHT’s by smallscale farmers maybe crucial to improve dryland maize production. IRWH outperformed all other treatments in terms of the soil parameters and plant parameter measured during the period of this study. Therefore, these results suggest IRWH has potential of sustaining maize yields under low rainfall conditions. Key words: Rainwater harvesting, conservation techniques, ecotope, rainwater productivity, maize yield, precipitation use efficiency.
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Superchi, Cecilia. "Measuring review report quality in health research : development and validation of ARCADIA." Doctoral thesis, Universitat Politècnica de Catalunya, 2021. http://hdl.handle.net/10803/673265.
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Editorial peer review is the gateway to scientific publication. It was established to ensure that research papers were vetted by independent experts before they are published. Despite the importance of this process, its impact is still considered suboptimal and it needs to be improved. For this purpose, we need appropriate outcome measures, particularly a validated tool that clearly defines the quality of peer review reports. The final aim of the present PhD project was to develop and validate a new tool for assessing the quality of peer review reports in biomedical research.
As the starting point for the development of a new tool, we performed a systematic review aimed to identify and describe the existing tools used to assess peer review report quality in biomedical research. We identified a total number of 24 tools: 23 scales and 1 checklist. None of the tools reported a definition of ‘quality’. Only one described the scale development and 10 provided measures of validity and reliability. We classified the quality components of the 18 tools with more than one item into 9 main quality domains and 11 subdomains.
Secondly, we formed a steering committee composed of five members with diverse expertise, which defined the quality of peer review reports. We then conducted an online survey intended for biomedical editors and authors to 1) determine if participants endorsed the proposed definition of peer review report quality; 2) identify the most important items to include in the tool, and 3) identify any missing items. Based on the participants’ qualitative and quantitative answers, the steering committee modified the initially proposed definition of peer review report quality, reviewed all items, and ultimately, drafted and refined the final version of the tool.
The ARCADIA (Assessment of Review reports with a Checklist Available to eDItors and Authors) tool was finally developed. The tool is a checklist that includes 14 items encompassed in 5 domains. Each item should be ticked as ‘Yes’ or ‘No’. However, an item could also be assessed as ‘Not applicable’ (NA) depending on the reviewer’s expertise, type of study, type of biomedical journal, availability of study data, materials and protocol.
Finally, we tested the tool and evaluated its acceptability, reliability, and validity. ARCADIA was validated by a heterogeneous sample of both biomedical editors and authors using a sample of peer review reports from two different biomedical journals (i.e., The BMJ and BMJ Open). Field-testing demonstrated that the psychometric properties of ARCADIA are not entirely satisfactory. Results from the validation study should be used to inform a new version of the ARCADIA tool, which should be also validated in a real-editorial setting using peer review reports associated with manuscripts with different study designs and from different types of journals.
This thesis reports the development and validation of ARCADIA, a new tool for assessing the quality of peer review reports in biomedical research. ARCADIA constitutes the first tool that has been systematically developed to assess the quality of peer review reports and its validation is based on a large and diverse sample of biomedical editors and authors. This tool could be used regularly by editors to evaluate the reviewers' work, and also as an outcome when evaluating interventions to improve the peer review process.La revisión editorial por pares es la puerta de entrada a la publicación científica. Se estableció para garantizar que los artículos de investigación fueran examinados por expertos independientes antes de su publicación. A pesar de la importancia de este proceso, su impacto aún se considera subóptimo y debe mejorarse. Para este propósito, necesitamos outcomes apropiados, particularmente una herramienta validada que defina claramente la calidad de los informes de revisión por pares. El objetivo final del presente proyecto de doctorado fue desarrollar y validar una nueva herramienta para evaluar la calidad de los informes de revisión por pares en la investigación biomédica. Como punto de partida para el desarrollo de una nueva herramienta, realizamos una revisión sistemática destinada a identificar y describir las herramientas existentes que se utilizan para evaluar la calidad de los informes de revisión por pares en la investigación biomédica. Identificamos un total de 24 herramientas: 23 escalas y 1 lista de comprobación. Ninguna de las herramientas incorporó una definición de `calidad¿. Solo una describió el desarrollo de la escala y 10 proporcionaron medidas de validez y confiabilidad. Clasificamos los componentes de calidad de las 18 herramientas con más de un elemento en 9 dominios de calidad principales y 11 subdominios. En segundo lugar, formamos un comité directivo compuesto por cinco miembros con experiencia diversa que definieron la calidad de los informes de revisión por pares. Luego, realizamos una encuesta online destinada a editores y autores biomédicos para 1) determinar si los participantes respaldaban la definición propuesta de calidad del informe de revisión por pares; 2) identificar los ítems más importantes para incluir en la herramienta; y 3) identificar cualquier ítem faltante. Sobre la base de las respuestas cualitativas y cuantitativas de los participantes, el comité directivo modificó la definición propuesta inicialmente de calidad del informe de revisión por pares, revisó todos los ítems y, por último, redactó y perfeccionó la versión final de la herramienta. Seguidamente se desarrolló la herramienta ARCADIA (Assessment of Review reports with a Checklist Available to eDItors and Authors). La herramienta es una lista de comprobación que incluye 14 elementos englobados en 5 dominios. Cada elemento debe marcarse como "Sí" o "No". Sin embargo, un elemento también podría evaluarse como `No aplicable¿ (NA) según la experiencia del revisor, el tipo de estudio, el tipo de revista biomédica, la disponibilidad de los datos del estudio, los materiales y el protocolo. Finalmente, probamos la herramienta y evaluamos su aceptabilidad, fiabilidad y validez. ARCADIA fue validada por una muestra heterogénea de editores y autores biomédicos utilizando informes de revisión por pares de dos revistas biomédicas diferentes (es decir, The BMJ y BMJ Open). Las pruebas de campo demostraron que las propiedades psicométricas de ARCADIA no son del todo satisfactorias. Los resultados del estudio de validación deben usarse para impulsar una nueva versión de la herramienta ARCADIA, que también debe validarse en un entorno editorial real utilizando informes de revisión por pares asociados con manuscritos con diferentes diseños de estudio y de diferentes tipos de revistas. Esta tesis informa sobre el desarrollo y validación de ARCADIA, una nueva herramienta para evaluar la calidad de los informes de revisión por pares en la investigación biomédica. ARCADIA constituye la primera herramienta que se ha desarrollado sistemáticamente para evaluar la calidad de los informes de revisión por pares, validada con una amplia y diversa muestra de editores y autores biomédicos. Los editores podrían utilizar esta herramienta con regularidad para evaluar el trabajo de los revisores y también como variable respuesta al evaluar intervenciones para mejorar el proceso de revisión por pares.
Estadística i investigació operativa
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Wood, Richard J. "The image of human condition : Sidney's Arcadia and the conflicts of virtue." Thesis, Sheffield Hallam University, 2012. http://shura.shu.ac.uk/6634/.
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I read Sidney’s romance, the New Arcadia, in the light of a particular ethos known as Philippism after the followers of Philip Melanchthon, the Protestant theologian. In doing so, I use a critical paradigm previously only used to discuss Sidney’s Defence of Poesy. Thus, building on the work of Robert E. Stillman, I narrow the gap that critics, such as Gavin Alexander, have often found between Sidney’s theory and literary practice. Like the Philippists, peculiarly open to the ideas of humanist scholarship, Sidney draws his philosophical precepts from an eclectic mix of sources. These various strands of philosophical, political and theological thought are accommodated within the New Arcadia, which conforms to the kind of literature praised by Melanchthon for its life-like heterogeneity and its examples of virtue. Sidney’s characters have generally been thought to symbolize a passive form of Christian Stoicism. I contend that they, in fact, respond to their misfortunes in a way that demonstrates an active outlook. Employing the same philosophy, Sidney, both in his letter intervening in Queen Elizabeth’s marriage negotiations and in his politically-interested fiction, arrogates to himself the role of court counsellor. As such, he is a model for his sister and Fulke Greville in their later roles as literary patron and courtier, respectively. The primary inheritor of Sidney’s political and cultural legacy, Robert Devereux, despite being associated with court factionalism, also draws, I argue, on the optimistic and conciliatory philosophy signified by Sidney’s New Arcadia. Sidney’s romance affirms its author’s piety, in which human fallibility is recognized and tolerated. Amphialus represents Sidney’s ethos most poignantly. An epic, martial figure, Amphialus also participates in the most dishonourable activities in the romance. Through the representation of this apparently irredeemable character, who, nevertheless, will be saved, Sidney displays his faith in God’s Providence and his own salvation.
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Barstow, Clive. "An-Arcadia: A Visual Representation of Cultural Hybridity as a Multidimensional Trialectic Space." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370331.
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Arcadia is an imaginary and socially constructed space in which pastoral harmony is played out in various creative guises. The classic Eurocentric interpretation of Arcadia is relatively static, and was formed on a mythological and monocultural vision that reflected a particular time and place, a golden age formed through nostalgia as a “longing for a home that no longer exists—or never existed” (Legg 2004, 100). The title of this research is An-Arcadia: A Visual Representation of Cultural Hybridity as a Multidimensional Trialectic Space, and therefore the notion of anarchy refers directly to the wordplay of the title An-Arcadia, or more commonly referred to as trouble in paradise. Prompted by this idea, this creative research investigates a timely reimagining of Australia’s hybridised identity using Homi Bhabha’s (1994) thirdspace theory as a point of departure. The research interprets and develops Henri Lefebvre’s (1991) cumulative trialectics as a more appropriate model that extends thirdspace theories of contestation into a triangulated framework that is positive and creative, accommodating the embodied ‘self’ as a changing state of being: one that is dependent on a more fluid interpretation of history, time, and place.
Through reflexive praxis and artistic collaboration and production, this research explores a unique visual language to propose an imaginary space that creates new knowledge and the repositioning of cultural difference across cultural and language groups. As an experienced practice-led researcher using reflexive praxis as my methodology, I create a dialogic space based on my ongoing experiences of working with Aboriginal artists in Western Australia and, more recently, with Chinese artists in Mainland China. Besides that felt by migrant groups, the feeling of displacement brought about through cultural transformation is often manifested through the arts by contemporary urban Aboriginal people who do not fit Western ideals of Aboriginal art and who often find themselves alienated within their own country and culture (Bell 2003; Langton 2003). Within this Sino-Australian model, the issues surrounding displacement and cultural identity are examined through a more fluid interpretation of space, 5including the use of Disney characters and found objects as a way of introducing imaginary and nostalgic stimuli.
The development of a new multidimensional model through studio enquiry extends our understanding of constructed histories by the use of images and materials, prompting experiential, sensory and imaginative responses from the audience that in turn promotes a questioning of the validity of current textual systems of understanding and knowledge transfer. The research concludes that the artworks made as a response to Henri Lefebvre’s cumulative trialectics have the ability to communicate complex ideas that avoid polarisation, offering a theoretical model of praxis that is adaptable for artists in particular who approach their research from an autoethnographical position. Through this, the research contributes to the ongoing dialectic regarding the representation of cultural hybridity in Australia and beyond.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Johnson, Jerry D. "Et in arcadia mattheus? : an investigation of educational equity in Kentucky's public schools /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3191705.
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Celovsky, Lisa Ann. "Martial and marital, representing masculinity in the faerie queene and the new arcadia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27886.pdf.
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Nepomuceno, Luis Andre. "A musa desnuda e o poeta timido : o petrarquismo cortesão na arcadia brasileira." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269855.
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Orientador: Suzi Frankl SperberTese (doutorado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
Made available in DSpace on 2018-07-26T21:22:54Z (GMT). No. of bitstreams: 1 Nepomuceno_LuisAndre_D.pdf: 11460230 bytes, checksum: 4dabe60d00febb4694f645dedd89ed8e (MD5) Previous issue date: 2000
Resumo: Não informado
Abstract: Not informed.
Doutorado
Teoria Literaria
Doutor em Letras
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Frånberg, Gun-Marie. "East of Arcadia : Three studies of rural women in northern Sweden and Wisconsin, USA." Doctoral thesis, Umeå universitet, Pedagogiska institutionen, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-16579.
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This dissertation deals with three different studies of rural women in northern Sweden and Wisconsin, USA. All three of them aim at identify and elucidate pertinent aspects of women's lives in rural areas. In the first study, The Åsele study, women's work and free time activities are in the focus of investigation. The second, The Leading Light study, deals more explicitly with obstacles and problems that women meet with when trying to improve their living conditions and, finally, the Wisconsin study deals with the ways rural women organize their everyday lives. More specifically, while all three studies assume a gender and mode-of-living perspective, cultural issues, the relations between structure- agent and questions concerning the organization of everyday life receive separate treatment. Mostly qualitative methods are used in collecting data, including interviews and essays. Also questionnaires are used in order to gain a comprehensive picture of certain areas, such as activities and aspirations within the field of leisure. In the last study a reanalysis of an archived interview material, built on oral life histories, is used. The results give a complex and nuanced picture of women's lives in these areas. The farm women in the Wisconsin study have a heavy work load and contribute in different ways to the maintenance of the family. Their productive work is, however, made invisible in official statistics. The Åsele study gives a picture of a woman, who is not demanding anything special for herself, but is adapting to the traditional gender structures. Her life is organized around her home, her husband and her children. The young women intend to leave this area, which is one of the problems that the local politicians have to deal with. In the Leading light study, finally, it is above all the male representatives at the local governmental level that impede the women's ideas and ignore their propositions for change. Despite official signals of decentralisation of decision making, the bureaucratic structures seem to strengthen at the local level. Most of the women in this study praise life in the country side. The rural ideology also comprises a positive view of this mode of living. While the rural ideology is a entire male construction, the female conditions have to be problematized. This has been done in this thesis.digitalisering@umu
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Zhuang, Yue. "Et in Arcadia Ego : landscape theory and the funereal imagination in eighteenth-century Britain." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/18756.
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This study considers the relationship between landscape and the Arcadian funereal imagination in the context of eighteenth century Britain, arguing that the Arcadian landscapes imagined by the British elite were instruments of rituals facilitating the reformation and transformation of socioeconomic, political, and moral structures of the British empire. Drawing upon texts and landscape practices, three case studies are examined: Alexander Pope’s (1688-1744) Twickenham grotto and his descriptive letter to Edward Blount; Sir William Chambers’ (1723-1796) Dissertation on oriental gardening and his design for Kew gardens, Sir John Soane’s (1753-1837) manuscript Crude hints towards an history of my house in LIF and his house-museum in Lincoln’s Inn Fields in London. The landscape itinerary of Pope’s Twickenham villa, in relation to his letter to Blount, suggests that it was structured analogous to the initiatory route of the Eleusinian mysteries as accounted in Pope’s translation of the Odyssey. Noting Pope’s engagement with Freemasonry, associated with the Opposition party, I suggest this implied Odyssean journey not only metaphorically anticipates the restitution of the Stuart dynasty and the reassertion of a political order founded upon aristocratic land ownership, but is also a means by which the ‘initiates’ contest the Enlightenment ideal of a mind of autonomy. In relation to the Burkean sublime, Chambers’ Dissertation, an imaginary travel narrative, is read as a city landscaping theory which aims to shape the morals of British citizens exposed to the erosion of commercial society. Whilst the scenes of luxury in the Chinese gardens imply a double effect of commercial society, the funereal imagery of ‘the surprising,’ built upon the Burkean sublime-effect, is intended as a cure of moral corruption associated with luxury. Stimulated by geological notions (e.g. stratigraphy and catastrophism), Soane’s ruinous text of Crude hints, a mirror of the house-museum as well as the earth, illustrates a parallel between the ‘first principles’ of the movement of the earth and that of the mind, i.e. imagination and signification. The funereal imagination in the text, which itself represents simultaneous creation and destruction, is revealed to be the architect’s construction of an ideal language that can express the being of the nation and the self. This thesis ends with a theoretical discussion of the role of the funereal imagination in eighteenth century landscape and architecture, i.e. how British imperial identity was forged, transmitted, negotiated, and reconstructed constantly within the temporally and spatially extended discursive realm of Arcadian mythology.
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Carlson, Elizabeth J. "Even in Arcadia: Conflict, Certainty, and Self-Perception whilst Directing Tom Stoppard's Iconic Play." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/311450.
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TheaterM.F.A.
This thesis is a partial documentation of the process of preparing and rehearsing Temple University Theatre's 2015 production of Tom Stoppard's Arcadia, and the ways in which the process was artistically challenging and personally transformative. It is a demonstration of the manifold procedure of discovering action through language in the rehearsal process, the essential relationship of language to behavior in all collaborative practice and both the embrace of constructive conflict and the fundamental exercise of self-reflection as the primary catalysts for artistic development.
Temple University--Theses
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Voyatzis, Mary E. "The early sanctuary of Athena Alea at Tegea : and other archaic santuaries in Arcadia /." Göteborg : P. Åström, 1990. http://catalogue.bnf.fr/ark:/12148/cb38914241b.
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Egan, Michael. "Visions of Arcadia, wilderness and the ecology of trail construction in the coastal Pacific Northwest." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0014/MQ61425.pdf.
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Hooker, Navina Krishna. "Rhetoric and gender in Sidney's 'Arcadias'." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/15013.
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This thesis starts from the point of departure that Sidney's claim in his Defence of Poetry that the purpose of literature is to delight and instruct a given audience is both an accurate and important guiding principle behind the creation of his two Arcadias. By their author's criteria, Sidney's works seek not only to provide diverting images of a fictive world, but to insure that these images serve some specific moral, didactic purpose. The manner in which Sidney goes about achieving this end is, however, less simplistic than the ordinary understanding of didactic literature connotes. The most historically determined aspect of the Arcadia 's didacticism is its extensive and strategic deployment of rhetorical figuration. Rhetoric in Sidney's Renaissance England represented both a vital tool in the smooth running of political life and a signpost of literary genius. The Arcadia thus manipulates specific rhetorical figures and tropes both to demonstrate the great literary skill of its author as well as to depict an ethical and political ideal. Part One of the thesis first investigates the history of rhetorical theory and its impact on the reputation of Sidney's work. It then goes on to explore particular rhetorical devices employed most frequently and significantly in the Old and New Arcadias, drawing comparisons between the versions as to underscore the differences in stylistic procedure and dramatic content of each work. Other aspects of Sidney's rhetoricism, such as his treatment of paradox and his rhetorical character portrayal, are also studied in an effort to gauge the major differences between the Old and New Arcadias. The overall conclusions drawn indicate that Sidney adapts his rhetorical strategy to accommodate a more complex and mature vision of ethical behaviour in his revised work. The other key aspect of Sidney's didacticism is his self-conscious and contentious depiction of gender roles. That is, Sidney plays off varying aspects of traditionally gender-associated behaviour to portray his own vision of an heroic ethical ideal. For example, the Amazon and the transvestite become vehicles through which to explore aspects of femininity that are for Sidney wholly in concord with manifestations of heroism. Moreover, Sidney subverts traditional gendered conceptions of particular vices and virtues to illustrate a liberal attitude toward the potentialities of women and men. Part Two, then, is dedicated to drawing out Sidney's understanding of gender roles as they reflect and demonstrate his unique vision of an heroic ideal. The observations made about the rhetorical and gendered dimensions of Sidney's didacticism are brought together in the conclusion, where Sidney's rhetoric is situated within the context of gender. In other words, the gendered conception of Sidney's particular brand of rhetoric is brought to the fore and poised within the ethical framework it embodies.
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Close, Elke. "Megalopolis and the Achaian koinon : local identity and the federal state." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31204.
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This dissertation examines the relationship between the Arkadian city of Megalopolis and the Achaian koinon in the Hellenistic period. By arguing that Megalopolis was a polis which used its own local identity to carve out a prominent position for itself within the Achaian federation, this thesis is able to provide new insights into the study of the wider topic of the relationship between federations and their member states. To support this argument, the thesis is divided into three parts. In part one of the dissertation, the Megalopolitan identity is clearly established by identifying its basic components, which were the result of the city's foundation by the Arkadian koinon around 368 BC as well as its Achaian membership of 235 BC. The Megalopolitan identity was marked by a complex structure; it was characterised by a deep and traditional hatred for Sparta, longstanding relations with the Macedonian kings, a clear understanding of the mechanisms of a federal state and multi-ethnic politics, and, by Polybius' time, a connection to both Arkadia as well as Achaia. The second part examines the influence of this local identity on the koinon through the direct relationship of Megalopolis with the federal government via its Achaian membership. Within the Achaian League, Megalopolis was an active member, taking part in the federal institutions and minting coins. However, through its interactions with other members of the federal state, Megalopolis used its relationship with the federal state to its own advantage. Finally, the last part of the thesis explores the role of Megalopolis and its local interests in Achaian foreign politics. The polis seems to have influenced these through the emergence of a series of influential statesmen (such as Philopoimen and Lykortas) as well as several new policies pursued by the Achaians after Megalopolis' membership. Examples of these new policies are the Achaian alliance with Macedon of 225 BC and the increased focus of the koinon on Sparta in the second century BC, something that also shaped Achaian interactions with Rome. Throughout the thesis particular attention is paid to the narrative of the historian Polybius and the problems his writings pose, since he was an important source for the history of the Achaian koinon and who, as a Megalopolitan, was an excellent example of this distinct Megalopolitan identity. By shedding light on the various ways in which Megalopolis affected the Achaian koinon and its politics, this thesis shows that Megalopolis merits more attention than it has received in the past, as it was more than just an Arkadian city that was a member of the Achaian koinon. Furthermore, the intricate analysis of the distinct Megalopolitan identity makes a novel contribution to the wider study on the interaction between the polis, as a civic unit, and the federal state, as a developing political structure.
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Granda, Rangel Mario Carlos. "El concepto de la Arcadia Colonial en la recepción de Lima la horrible de Sebastián Salazar Bondy." Master's thesis, Universidad Nacional Mayor de San Marcos, 2018. https://hdl.handle.net/20.500.12672/9494.
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Publicación a texto completo no autorizada por el autorAhonda en el conflicto que propició Lima la horrible en el medio letrado limeño y en el modo en que este debate se prolongó durante las décadas siguientes. Muchos lectores aceptaron que, efectivamente, la capital peruana había perdido el lugar y la nombradía que tanto la hizo conocida, pero está claro que muchos otros no lo entendieron así. De manera que la hipótesis general consiste en decir que el conflicto entre el “horizonte arcádico” y el “horizonte de lo horrible”, planteado por Salazar, continúa vigente. Esta hipótesis nos lleva también a las siguientes dos hipótesis secundarias: la presencia del concepto de la Arcadia Colonial en la crítica literaria y las ciencias sociales comprueba que aún existe un gran interés por conocer las consecuencias del mito de la Colonia en la actualidad; y el concepto de la Arcadia Colonial también sirve para conocer el modo en que surgen nuevos mitos que intentan legitimar el pensamiento de los grupos sociales dominantes.
Tesis
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Cañas, Gallart Cecilia. "La traducción de la Arcadia de Sannazaro por Jerónimo Jiménez de Urrea (S. XVI). Estudio y edición crítica." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/111043.
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En la fortuna de la Arcadia de Sannazaro en España desempeñaron un papel importante las traducciones, la primera de las cuales fue la versificación garcilasiana de un fragmento de la prosa VIII.
La recepción de la obra del poeta napolitano tiene lugar en una etapa crucial de la evolución de la lengua y la literatura castellanas, momento en que la traducción adquiere gran influencia como vía de acceso a las obras maestras del Renacimiento. En 1547 veía la luz la primera versión íntegra de la Arcadia al cuidado de Diego Blasco de Garay, si bien sus traductores habían sido Diego López de Ayala, para las prosas, y Diego de Salazar para las églogas, estas últimas vertidas en metro castellano tradicional. Esta doble autoría evidencia la incomprensión, por entonces, del carácter orgánico del prosímetro y es un inicio a tener en cuenta desde el punto de vista del horizonte de expectativas en la recepción de la obra. De hecho las imitaciones españolas de la Arcadia se bifurcarían en una modalidad narrativa (donde las poesías cumplen una función netamente subordinada y secundaria) y en otra lírica, ésta última de influencia garcilasiana.
Además de la traducción editada por Garay, hubo en el siglo XVI otras tres que quedaron inéditas: la de Jerónimo de Urrea, la de Juan Sedeño y la del Licenciado Viana. Todas ellas presentan la novedad de ofrecer las églogas en metro italiano, en un claro reflejo del auge alcanzado por las nuevas tendencias poéticas, y todas ellas se limitan a reelaborar la traducción de las prosas debida a López de Ayala.
Pese a la novedad representada por estas tres versiones métricas de las églogas de Sannazaro, poca ha sido la atención recibida de la crítica, hasta el punto de que han seguido inéditas hasta hoy.
Entre estas traducciones hemos tomado como objeto de nuestro estudio y edición la de Jerónimo Jiménez de Urrea, conocido sobre todo por su versión del Orlando furioso de Ariosto, y por la crítica que esa labor le mereció a Cervantes, un hecho del que no pudo no resentirse la recepción posterior de sus obras. Sin embargo, la contextualización de la traducción de Urrea y su comparación con las otras versiones inéditas ha permitido romper esta inercia y aportar una visión dinámica de su labor traductora, que aparece como un eslabón fundamental en el proceso de evolución del castellano en cuanto a lengua poética y de traducción. Con ello seguimos las recientes aportaciones de la crítica sobre la obra urreiana, añadiendo nuevos elementos de prueba para su justa valoración.
La comparación entre las cuatro traducciones castellanas del siglo XVI (la editada en 1547 y las tres inéditas) evidencia complejos procesos que van desde el nivel morfológico y sintáctico, pasando por deslizamientos semánticos, hasta la métrica. Dada esta complejidad, para el análisis de las églogas hemos elegido un criterio selectivo e intensivo, centrándonos en la XII por considerarla paradigmática, mientras que para las prosas el estudio se extiende a su totalidad, además de incluir un análisis de la versificación garcilasiana de un fragmento de la prosa VIII.
Ello ha permitido demostrar que, entre las tres traducciones inéditas, la de Urrea es la que presenta una estrategia de traducción más clara y coherente: intenta ser fiel al sentido y a la métrica, aunque ello suponga ceder en leves transposiciones léxicas, sin dejar por ello de reflejar rasgos característicos de la lengua sannazariana, debidamente conciliados con la índole del castellano y sin rebajar nunca el registro literario. Las variantes que ofrecen las numerosas correcciones (a nuestro juicio, autógrafas) presentes en el manuscrito, así como las modificaciones introducidas por Urrea al reelaborar la traducción ayaliana de las prosas, confirman ulteriormente estas tendencias, y a la vez confirman el carácter autógrafo del manuscrito, fruto, a nuestro entender, de una obra de madurez.
Cabe, en efecto, precisar, que el Mss. 1469, conservado en la Biblioteca Nacional de España, contiene, además de la traducción de la Arcadia, otra obra de Urrea: el poema épico El Victorioso Carlos Quinto. Las Licencias y censuras que encabezan el códice (una de ellas, de Francisco de Mansilla, fechada en Zaragoza en 1579, otra de Alonso de Ercilla, limitada al Victorioso Carlos Quinto y fechada en 1584), así como la firma –del propio Mansilla– que rubrica ambos textos, y algunos pasajes de la Arcadia tachados con evidente intento censor, muestran que, tanto la traducción como el poema, habían pasado por un proceso previo a la estampa. El silencio en torno a los últimos años de vida de Urrea, y el olvido en el que muy pronto cayó su obra, parecen haber condicionado la suerte de este manuscrito, hasta hoy inédito.XVI th.c JERÓNIMO JIMÉNEZ DE URREA’S TRANSLATION OF SANNAZARO’S ARCADIA. AN ESSAY AND A CRITICAL EDITION. Sannazaro’s Arcadia was successful due to the important role played by translations. The first being Garcilaso’s verses of a fragment from prose VIII. The Italian poet’s acknowledgment of his work takes place at a decisive stage in the evolution of the Castilian Spanish language and literature, a period when translation became a means to access the Renaissance literary masterpieces. In 1547 the first full version of the Arcadia saw the light. It had been in charge of Diego Blasco de Garay; although Diego López de Ayala had translated the prose and Diego the Salazar the Eclogues; these written in traditional Castilian metres. This dual authorship evidences the misunderstanding, at that time, of the complementary and balanced character of the “prosímetro” – a harmonious compilation of prose and poetry. The “prosímetro” meant the starting point to be taken into account from the point of view of the expectations created prior to its editing. In fact, the Spanish imitations of the Arcadia would branch off into two separate ways: a narrative mode (in which the poems clearly play a subordinate and secondary role) and a lyric one fully influenced by the poet Garcilaso de la Vega. In addition to Blasco de Garay’s edited translation there were three more unpublished ones in the XVIth c.; the ones by Jerónimo de Urrea, Juan Sedaño and Licenciado Viana – a graduate from Seville. These three unpublished translations offer the novelty of the Italian metre in the Eclogues. This novelty shows the boom reached by the new tendencies in poetry. These new poetic tendencies are confined to the re-writing of the prose translations previously written by López de Ayala. Despite the novelty in metre shown in the unpublished versions of Sannazaro’s Eclogues, critics have paid so little attention that they have still remained unpublished nowadays. Among these translations, we have chosen as the object of our essay Jerónimo de Urrea’s edition. He is best-known for his version of Ariosto’s Orlando Furioso, and for the excellent reviews his work earned to Cervantes, as well, a fact that obviously did affect his later works. However, the contextualization of Urrea’s translation and its comparison to the other unpublished versions has made it possible to break this inertia and provide a dynamic view of his translation work; this being a crucial link in the evolution process of the Castilian language regarding poetry and translation. We are taking into account the recent contributions of criticism on Urrea’s work, adding new evidence for a fair assessment. The comparison among the four XVIth century Spanish translations (the one published in 1547 and the other unpublished three) reveals some complicated and tricky processes ranging from the morphological and syntactic to semantics and poetic metre. Given this difficulty, we have chosen an intensive and selective approach for the analysis of the Eclogues. We focus our interest in Eclogue XII as we consider it paradigmatic. We analyse the prose, though, to its fully extent, including an analysis of the prose fragment VIII composed in verse by Garcilaso de la Vega. All this work has proved that among the three unpublished translations, Urrea’s one shows a clearer and more coherent or consistent translation strategy. It attempts to be faithful and accurate to the meaning and metre, even if it means to make some minor concessions such as allowing lexical alterations or changes in sentences. Yet, showing distinctive features of Sannazaro’s language brought together with the character and nature of the Castillian language, never lowering down its literary register. The variations offered in the numerous corrections (from our point of view, being autograph) present in the manuscript, together with Urrea’s changes when reworking Ayala’s prose translation confirm these tendencies and the autograph character of the manuscript – we believe being the result of mature work - at the same time. It is absolutely necessary to pinpoint that “Mss.” 1469 kept in the Spanish National Library contains not only the Arcadia’’s translation, but also another piece of work by Urrea’s: The epic poem El Victorioso Carlos Quinto. The administrative licenses besides the Inquisition censorships that head the codex (one by Francisco de Mansilla dated in Zaragoza in 1579; another by Alonso de Ercilla, restricted to the Victorioso Carlos Quinto and dated in 1584) together with Mansilla’s own signature in both texts, and, some passages of the Arcadia which had been crossed out in an obvious attempt of censorship show that both, the translation and the poem, had undergone a pre-printing process. Loblivion of his work seem to have influenced the fate of this manuscript still unpublished nowadays.
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Brumbaugh, Barbara A. "The great work indeed in hand: Apocalyptic history and the Protestant cause in Sir Philip Sidney's New Arcadia /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945744574232.
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Pitel, Anne-Hélène. "Prose et poésie dans l'oeuvre de fiction de Lope de Vega : de La Arcadia (1598) à La Dorotea (1632)." Paris 3, 2008. http://www.theses.fr/2008PA030138.
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L’alliance discursive de prose et de poésie au sein d’un même texte est appelée prosimètre. Lope de Vega n’a de cesse de recourir à cette forme mixte pour composer ses oeuvres de fiction, lesquelles répondent à différents genres : deux récits pastoraux, La Arcadia et Pastores de Belén, un récit byzantin, El peregrino en su patria, les Novelas a Marcia Leonarda, et l’inclassable acción en prosa, La Dorotea. Afin d’en proposer une nouvelle lecture, la présente étude considère cette combinaison en préservant la cohérence et l’intégrité de l’oeuvre. Si la matière versifiée est recensée et analysée d’un point de vue formel et thématique, l’accent est mis sur les transitions prose-poésie-prose, afin d’établir une typologie des modalités d’insertion. En dépit de l’hermétisme apparent qui isole les deux discours d’un point de vue typographique, ceux-ci dialoguent : d’une part au niveau de l’intrigue, par l’incidence de la poésie sur l’action, et d’autre part au niveau du récit. Le débat de la prose et de la poésie trouve une réponse dans l’instrumentalisation de leurs oppositions et de leurs affinités (idéologiques, esthétiques…), à des fins narratives. Ces mécanismes de l’hybridation discursive ainsi révélés, sont alors mis en perspective leurs diverses implications et la récurrence de ce choix esthétique chez l’auteur. L’adéquation de la forme et de sa personnalité créatrice souligne la façon dont le Fénix utilise le prosimètre à des fins personnelles, que ce soit pour servir le narcissisme de son écriture ou pour rédiger son testament littéraire, autour de la promotion du canto llano et du principe de la varietasThe discursive union of prose and poetry within a same text is called prosimetrum. Lope de Vega continually resorts to this hybrid form in order to write his works of fiction, which consist of different genres: two pastoral novels, La Arcadia and Pastores de Belén, one adventure story, El Peregrino en su Patria, the Novelas a Marcia Leonarda, and the unclassifiable works Acción en Prosa La Dorotea (1632). In order to shed a new light on these works, the present study considers this combination while preserving the coherence and the integrity of the work as a whole. Although we classify and analyse the versified material both formally and thematically, we shall emphasise the prose-poetry-prose transitions in order to establish a typology of the ways the author inserts the verses. Despite the apparent hermetism which isolates the two genres as far as typography is concerned, the two discourses interact. They do so on two levels: on the one hand, at the level of the plot thanks to the effect of poetry on prose, and on the other hand at the level of the story. The debate about prose and poetry finds an answer in the exploitation of their oppositions and their similarities for narrative purposes. The mechanisms of discursive hybridisation thus revealed, their diverse implications and the recurrence of this esthetic choice by the author are then put into perspective. The balance between the form and his creative personality emphasises the way the Fénix uses the prosimetrum for personal reasons, either to serve the narcissism of his writing or to compose his literary legacy, around the promotion of the canto llano and the principle of the varietas
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Kennedy, Chad Landon. "God with the backwards wave : a text in context analysis of the characterization of God in Joan of Arcadia /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
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Coley, David. "Forecasting seasonal streamflow/precipitation variability of the Peace River at Arcadia, Fl, conditioned upon Pacific-Atlantic sea surface temperatures." [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0001109.
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Eiselen, Minette Linda. "Heal : a shelter for the homeless in Tshwane : investigating a suitable living environment for the healing and rehabilitation of people in crisis." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30288.
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The dissertation investigates suitable living environments for the healing and rehabilitation of people in crisis in South Africa, focusing on the human experience of space. Through the understanding of the problem and the context, the product of the investigation is a shelter for the homeless in the city of Tshwane. The shelter can be defined as transitional housing for the adult urban homeless and their children, which focuses on the healing and ultimate rehabilitation of homeless people, including the reintegration of these people into society. The significance of the project is that the development becomes a metaphor for the reintegration of people into society. The project aims to empower people to become contributing members of society and discontinues the cycle of destitution by providing an opportunity for economic activity and by improving the physical environment of the homeless as well as the physical environment of the community in general.Mini Dissertation (MArch(Prof))--University of Pretoria, 2010.
Architecture
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Oberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience." Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.
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Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art music. Four sample recital programs appropriate for rural audiences are included.
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Moody, Joanna. "Representations of the wife in the Sidney circle, 1593-1621 : the Countesse of Pembrokes Arcadia to the Countesse of Mountgomeries Urania." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337154.
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Bullard, Angela Denise. "The representation of rape in Sir Philip Sidney's Arcadias." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2826.
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This thesis examines the complex and conflicting arguments surrounding the crime of rape in early modern England and how the important literary texts, Sir Philip Sidney's Arcadias, explore the issue of rape. The thesis explores Sidney's attitude toward a system that sanctioned systematic sexual violence towards women as expressed in the text; as part of this it explores the way that the text differentiates rape from seduction.
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Baleriaux, Julie. "Religious landscapes, places of meaning : the religious topography of Arcadia from the end of the Bronze Age to the early imperial period." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:4d515b1e-a4c3-4050-9679-24a9c8f4c4e3.
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The thesis examines the religious topography of Arcadia through two particular aspects: the built and the natural landscape, and how each relates to human communities, their places of living, and their understanding of the world around. It relies on the assumption commonly made in the field that, since ritual practice was of prevalent importance for the Greeks, cult sites are the most important places for the communities, and therefore they can tell us a lot about the people who built, visited and looked after them. The first part rests on the acknowledgement that sanctuaries are places of interaction for a certain community of cult (which can but need not overlap with a given polis) and explores how they can be indicators of social change, defined here as responses to changes with large impact on the human milieu. These changes and their response articulated in sacred space are identified in four chapters. The first sets the stage and surveys the known sacred sites of Arcadia at the end of the Bronze Age and during the Early Iron Age. The second looks at how the building of temples after the eighth century indicates a significant change in the way communities were structured in Arcadia. The third looks at how Arcadian sanctuaries responded to the increased religious mobility of the Classical and Hellenistic period. Finally, chapter four evaluates the impact of the Roman conquest on Arcadian religious sites. The second part explores how myths and rationalising discourses allowed the Greeks to make sense of the salient characteristics and numen of their surrounding natural landscape. Each of the three chapters departs from a situation observed in Arcadia by ancient sources and examines the responses articulated to explain it. Among the variety of topics to pursue, three have been selected because they exemplify a typical characteristic of Arcadia: its wetness. They also allow spatial areas that were less prominent in part one to be explored. The first chapter investigates the attribution of Mycenaean waterworks in Arcadia to Herakles in myth. The second chapter examines the connection made in ancient sources between Poseidon's lordship over the Peloponnese, earthquakes, floods and cults of Poseidon Hippios in Arcadia. Finally, the last chapter explores the apparent contradiction of having infernal rivers observable in the world of the living, such as the Styx flowing in the Aroania Mountains.
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Dirlik, Nil. "The Tholos Tombs of Mycenaean Greece." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175940.
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This thesis is contains descriptions and definitions of the 2nd millennium BC tholos tomb architecture in Mainland Greece. The study area is divided into eight regions: Peloponnessos, Central Greece, Epirus, Attica, Euboea, Thessaly, Macedonia and Thrace. The time period of earliest tomb dated between 2000-1675 BC and the latest between 1320-1160 BC. Attention has been put on issues of typological characteristics, construction technique and stone materials of the tholos tombs.
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Chong, Robert Teh Yoke. "ARCADIA : Towards a computer-aided architectural design (CAAD) system for energy conservation in sketch design with special reference to commercial buildings in Singapore." Thesis, University of Sheffield, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385646.
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Morato, Fernando. "Um mestre na periferia da Arcadia: a obra poetica de Manuel Inacio da Silva Alvarenga no contexto do Imperio portugues do seculo XVIII." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562628156649824.
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Penso, Andrea. "SULLO STILE E IL LINGUAGGIO POETICO DI VINCENZO MONTI. DAGLI ESORDI FERRARESI ALL'APPRODO A ROMA." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424168.
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This research has been devoted to Vincenzo Monti's early literary production. The aim of the analysis and exegesis was the identification of the typical features of Monti's style and poetic language, in an attempt to understand how the rhetorical and lexical repertoires were formed and developed. The systematic analysis of the poems dating until 1778, the year of the landing in Rome, allows to observe closely the evolution of Monti's poetic, leading to identify specific stylistic marks and recurring motifs that form the basis of Monti's language. The research has been divided into three distinct phases. First, a reconstruction of the political and social context in which the young Monti had begun to take its first steps as a versifier was needed. The first chapter traces the various poeta's formation stages, starting by describing the Seminary of Faenza activities, where Monti begin his studies, and finally coming to analyze Monti's arrival in Ferrara and his entrance into the most exclusive literary circles of the city. This analysis is also an opportunity to understand what were the intellectual solicitations received from various masters (Santoni, Contoli, Maccabelli), and which authors of the tradition exercised their influence on young Monti. The second chapter is entirely devoted to a detailed study of the sonnets composed by Monti before 1775. The identification of a little known poems corpus has allowed to conduct systematic analysis of young Monti's rhetoric trends, and has led to the recognition of well identifiable and characteristic stylistic features in the author's poetic language. The sonnets has been analyzed from a metrical, syntactical and linguistic point of view, elaborating then the results of the exegesis through a comparation with the data derived from the works of Frugoni, Minzoni and Varano, unanimously recognized as models of young Monti. The third and final chapter analyzes the works subsequent to the first major turning point of Monti's literary career, namely the appointment as a member of Arcadia Academy in 1775. From this event, the poetry of Monti faces a sensitive change, dictated by the need of the poet to experience all available literary genres in order to prove himself as an excellent and versatile versifier. The sonnets are now flanked by the so-called Visioni, the Anacreontiche, the canzonette and more. According to Monti, the ductility of his laudatory poems would have made him worthy of important protections. Protections that, in fact, were obtained in a short space of years and that opened for him the gates of Rome, in 1778. The career of Monti was ready for a new twist.La ricerca è stata rivolta alla produzione poetica giovanile di Vincenzo Monti. Obiettivo del lavoro di analisi ed esegesi è stata l'individuazione dei tratti caratteristici dello stile e del linguaggio poetico del Monti esordiente, nel tentativo di comprendere come si è formato e sviluppato il vasto repertorio retorico e lessicale che portò poi il poeta ad imporsi sulla scena letteraria nazionale. L'analisi sistematica dei componimenti databili fino al 1778, anno dell'approdo a Roma, permette di osservare da vicino l'evoluzione della poetica giovanile di Monti, e di identificare precisi stilemi e motivi ricorrenti che costituiscono la base del linguaggio montiano. La ricerca si è articolata in tre momenti distinti. In primo luogo, necessaria è stata una ricostruzione del contesto politico e sociale in cui il giovane Monti aveva iniziato a muovere i suoi primi passi come verseggiatore. Prendendo le mosse dallo studio delle attività del Seminario di Faenza, nel quale Monti entrò dodicenne per iniziare i suoi studi, il primo capitolo ripercorre le varie tappe della formazione del poeta, arrivando ad analizzare il suo inserimento a Ferrara e il suo ingresso nei salotti più in vista della città. Tale analisi è anche l'occasione per comprendere quali furono le sollecitazioni intellettuali ricevute dai vari maestri (Santoni, Contoli, Maccabelli), e quali autori della tradizione esercitarono il loro magistero sul giovane Monti. Il secondo capitolo è interamente dedicato allo studio approfondito dei sonetti composti da Monti prima del 1775. L'individuazione di un corpus di poesie giovanili poco conosciute ha permesso di condurre analisi sistematiche delle tendenze retoriche del giovane Monti, e ha portato al riconoscimento di stilemi ben identificabili e caratteristici del linguaggio poetico montiano. I sonetti sono stati analizzati da un punto di vista metricologico, sintattico e linguistico, avendo cura di elaborare poi i risultati del lavoro di esegesi anche in chiave comparatistica, confrontandoli con i dati derivati dall'opera di Frugoni, Minzoni e Varano, unanimemente riconosciuti come i modelli del Monti esordiente. Il terzo e ultimo capitolo analizza le opere susseguenti al primo importante punto di svolta che conobbe la carriera letteraria di Monti, vale a dire la nomina a pastore arcade del 1775. A partire da questo avvenimento, la produzione poetica di Monti va incontro a un sensibile cambiamento, dettato dalla necessità del poeta di sperimentare tutti i generi letterari disponibili al fine di dimostrarsi verseggiatore eccellente e versatile. Al sonetto vengono affiancate le Visioni, le anacreontiche, i capitoli in terzine e molti altri. Nell'ottica di Monti, la duttilità della propria poesia encomiastica l'avrebbe reso degno di importanti protezioni. Protezioni che, in effetti, ottenne in un breve giro d'anni e che gli aprirono le porte di Roma nel 1778. La carriera di Monti era pronta per una nuova svolta.
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Toro, Pietro. "La cartografia storica per la ricostruzione del paesaggio antico del Peloponneso." Doctoral thesis, Universita degli studi di Salerno, 2010. http://hdl.handle.net/10556/225.
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VIII n.s.La scelta della regione del Peloponneso come oggetto di questo studio nasce dalla possibilità, offerta da tale contesto agli studiosi contemporanei, di potersi confrontare con un territorio ricco di tracce materiali, testimonianze storiche e monumentali di un passato nel quale essa è stata al centro del mondo antico. La proposta di tentare una ricostruzione storica dei paesaggi attraverso le fonti documentarie e la Cartografia storica si inserisce in un filone europeo di studi, che pone le basi nel metodo regressivo di matrice storica, e nell’individuazione ed interpretazione di tracce quali segni residuali del passato nei paesaggi contemporanei. I paesaggi sono elementi pluristatificati dove “le opere durature dell’uomo ovvero le strutture e le infrastrutture necessarie alla sua vita, al suo agire economico, culturale e spirituale, si sovrappongono al substrato naturale e si inseriscono in una eredità storica in via di progressivo arricchimento”. Il “paesaggio storico” è il risultato delle mutate culture, dell’approccio diverso che i vari gruppi umani hanno con l’ambiente che li ospita, e, fattore da non sottovalutare, delle caratteristiche geomorfologiche che hanno determinato l’evoluzione dei luoghi, come le tipologie di occupazione e di sfruttamento. Gli aspetti fisici di un territorio, come i fiumi, i monti, le vallate, determinano la forma degli spazi e rappresentano gli elementi di lunga durata su cui si impostano i paesaggi, che a loro volta vivono e mutano a seconda delle sollecitazioni dell’uomo. Il metodo archeologico per la ricostruzione del paesaggio storico, come notato già da Rizakis nel 1992, è stato elemento di discussione fra i sostenitori di un’archeologia estensiva, che procede all’esplorazione di vaste zone e quanti sono a favore di un approccio intensivo ed esaustivo, che predilige campioni ridotti con il risultato di una maggiore completezza dell’indagine. Il primo approccio traccia su una buona base di dati le linee generali della storia del popolamento, ma dà risposte deboli sui cambiamenti e sulle problematiche relative alla ... [a cura dell'autore]
2008 - 2009
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Pritzker, Elaine C. "Tom Stoppard: Humanizing Chaos." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/401.
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The purpose of this study was to critically evaluate Tom Stoppard’s application of chaos theory and quantum science in ROSENCRANTZ AND GUILDENSTERN ARE DEAD, HAPGOOD and ARCADIA; and determine the extent to which Stoppard argues for the importance of human action and choice.
Through critical analysis this study examined how Stoppard applies the quantum aspects of: (1) indeterminacy to human epistemology in ROSENCRANTZ AND GUILDENSTERN ARE DEAD; (2) complementarity to human identity in HAPGOOD; and (3) recursive symmetry to human history in ARCADIA. It also examined how Stoppard excavates the complexities of human action, choice and identity through the lens of chaos theory and quantum science.
These findings demonstrated that Tom Stoppard is not merely juxtaposing quantum science and human interactions for the sake of drama; rather, by excavating the complexities of human action, choice and identity through the lens of chaos theory and quantum science, Stoppard demonstrates the fundamental connection between individuals and the post-Newtonian universe.
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Spina, Manuela. "Le Accademie del Settecento nella Sicilia sud-orientale. Produzione letteraria nei circoli culturali del Val di Noto (Catania, Siracusa e la Contea di Modica)." Doctoral thesis, Università di Catania, 2012. http://hdl.handle.net/10761/952.
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Il Settecento è il secolo delle accademie che in Italia, come nel resto d Europa, svolgono un ruolo fondamentale nel favorire i contatti tra gli intellettuali, agevolando sia la diffusione della cultura illuministica sia la circolazione del sapere tradizionale. Sponsor di una conoscenza pragmatica, socializzabile, universale, esse rappresentano i centri nevralgici di una ideale Repubblica delle Lettere. La nostra ricerca, incentrata su tali sodalizi diffusi e numerosi anche in Sicilia, contribuisce a gettare nuova luce sulla rinascita culturale dell isola seguita a un lungo periodo d instabilità politica ed economica, aggravato dal terribile terremoto di fine Seicento. I fermenti di rinnovamento si trasmettono proprio attraverso le società accademiche, che riescono a garantire a scienziati ed eruditi spazi destinati alle tavole rotonde e agli esperimenti. Il lavoro è incentrato sulla produzione letteraria nei circoli della Sicilia sud-orientale ed è strutturato in quattro unità. Al primo capitolo critico-metodologico, articolato nell illustrazione del contesto storico-letterario regionale all interno del più ampio scenario nazionale; nell analisi di temi, forme e stili e nell approfondimento dei nodi cruciali del dibattito metaletterario, fanno seguito tre capitoli dedicati all analisi critica, alla descrizione e alla trascrizione dei codici settecenteschi rintracciati in biblioteche e archivi pubblici e in fondi privati suddivisi in base alle tre zone d interesse individuate: l area etnea, l area aretusea e quella iblea. Tra i numerosi documenti inediti che offriamo in questo studio, particolare valore assumono: la Raccolta di Prose e Poesie di Niccolò Paternò Castello di Ricalcaccia, socio degli Etnei; le Rime e Prose del Cavaliere Saverio Landolina Nava, pastore Aretuseo; i Vagiti della penna dell Infuocato modicano Tommaso Campailla.
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Polita, M. "LA LINGUA DELLA CHIESA NEL SETTECENTO: UNA RICOGNIZIONE NEL FONDO AGIOGRAFICO << BIBLIOTECA DEI DUCHI DI PARMA >>." Doctoral thesis, Università degli Studi di Milano, 2011. http://hdl.handle.net/2434/159639.
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The subject of this paper deals with religious language in XVIII century, starting from the seven hagiographic texts of «Biblioteca dei Duchi di Parma», kept in Braidense Library, in Milan from 1938. Its Corpus significantly shows both uniformity and linguistic peculiarities.
Through the analysis of the phonetical, morphological, syntactic, textual and lexical phenomena it is clearly shown how the Church aimed to a communicative intelligible vehicle so as to be a modern language. Due to the need to reach more and different people the only possible result is the medietas.
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Varner, Michael L. "An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2262/.
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Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.