Dissertations / Theses on the topic 'Bucolic'

The hypothesis this thesis tests is that interwar hegemonic discourses of Englishness located it as originating in the heterosexual bond between a masculine national subject and a feminine nature/landscape. Discursively, this left little space for women to insert themselves in to such a cultural formation. However, a paradox of this heterosexualising cultural matrix may have been to give a voice to lesbian subjectivity, since If 'women' might not be English, could lesbians be? If national land was figured as feminine, and women desired identification with their country-as-land, to become English might mean for some women that they should become lesbian. In order to explore this, three main questions are examined. Firstly, to what extent did the dominant discourse of the rural in the interwar period define 'Englishness' as masculine and 'Nature' as feminine? Secondly, if women were excluded from this discursive heterosexual relationship, can it be seen paradoxically to have opened up a space for alternative sexualities to emerge? If lesbianism were an instance of the latter, then what writing strategies were adopted in order to articulate a relationship between Englishness and lesbianism? Thirdly, what can censored and other literary texts of the period reveal about the relations between such an English masculine national subject, the meaning and powers attributed to literature, and forbidden sexualities and subjectivities? In its analysis of the relationship between national identity, geographical location and sexuality, this thesis contributes to studies of England and Englishness through the addition of the concept of 'sexuality' to an understanding of their construction. It also contributes to lesbian and gay critical theory by examining the national processes which impinge of the construction of the homosexual subject. Beyond that, the importance of the materiality of the locations offered to different subjectivities shows how national identifies are both enabled and limited by these same locations.

Through an examination of a variety letters and printed works, this thesis argues that the political influence of the Country interest during the administration of Robert Walpole has been systematically underestimated in the historiography. New and previously neglected archival sources have been uncovered to form a better understanding of how the Country interest operated during the period. The emergence of the Country helps to address wider historical issues, such as why a ‘rage of party’ under Queen Anne disappeared during the reigns of George I and George II, only to be replaced by shifting associations of power. This examination of the Country platform in the eighteenth century challenges the notion of Walpole's adept mastery of party and patronage in developing a Whig oligarchy. This thesis is concerned primarily with the traditional, textbook treatments of Walpole’s tenure in office and how orthodox views (most notably of the Whiggish variety) continue to permeate into the present historiography, affecting how the eighteenth century is interpreted. A variety of methodological approaches have been deployed to answer how the Country rose to prominence and why they became effective in their opposition to Walpole's administration. Inspiration has been drawn from the prosopographical approach to scholarship, frequently associated with Sir Lewis Namier. In this instance, prosopography was an effective tool to reveal that there is important evidence to be examined concerning the role of the Country outside of London. Micro-historical practices favoured by historians such as Steve Hindle are also utilised, with emphasis placed on tracing the methods in which individuals used language to demonstrate their alignment with Country politics, alongside how they implored others to join them. Finally, the Cambridge school of political thought, linked with the analysis of changing linguistic practice and most associated with Quentin Skinner and John Pocock is also adopted to place the ideas mentioned above in context. The emphasis on language used in private correspondence provides important insights when examining the link between political motivations and action.

A dissertation submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Doctor of Philosophy in the Department of Social Work at the University of Zululand, 2017
An analysis of the social service practitioners’ practice tools in Africa towards the enhancement of professional responsibility to the client system is essential including investigating the ethical dilemmas experienced by the practitioners daily. These tools serve as sources of evaluating social work practice and administration that spur practitioners to provide a virtuous professional service and as enlightenment for the effective, efficient and reflective practice. The National Association of Social Workers (2008) and the South African Council of Social Service Professional (SACSSP, 2005) and their ethical values and principles served as this study principal document that directed this research venture. The researcher sought to understand the nature and extent of the challenges facing social work practitioners and administrators and compared their experiences within two different geo-political zones of Africa. Hence, the research philosophy engaged the “diamond metaphor,”in the sense it is multifaceted and within a blended research paradigm. It depicts the uniqueness and value of each study area. The study employed the comparison-evaluative approach depicting a Multi-Phase-Transformative mixed methods research design characterised by a six way dimensionalapproach of explorative, evaluative, descriptive, comparative, qualitative and quantitative approaches in order to reconnoiter the experiences of social work practitioners 135 and 47 administrators which in total 182 respondents from three different regions namely: KwaZulu-Natal (South Africa) and Lagos State and Imo State (Nigeria). Each setting for data collection differs within a multi-level mode and each data including the tested hypotheses were refined to actualise the subject situation and the analytical discussion of the methodology components. Data that was gleaned from the dispersed research tools used for the study were analysed by the utilisation of descriptive statistics, multiple comparisons and post hoc test correlations in testing the stated hypotheses with the Statistical Programme for Social Sciences (SPSS Version 21.0). However, the thematic gleaning of the responses was deciphered through discourse analysis (Soini and Birkeland, 2014:215-216; Gross, Alba, Glass, Schellenberg and Obrist, 2012:3). The findings of the study revealed that rural social work interventions are directly weakened by a poor support system that the social workers experience, thus, the lack of proper literacy and qualification levels in the rural areas largely contributes to weaker social work interventions in both Nigeria and South Africa. Furthermore, the study revealed that administrators avail themselves to more continuous professional development than the social workers do, while the overall qualification attributes for the respondents needed upgrading to cater for specialised areas. The study revealed that the lack of the analysed and aligned training needs of individual practitioners serves in fact to clog personal development plans which the subsequently affects the development of work plans and the signing of performance agreement job descriptions, thus, the policies are not then applied. The study’s results indicated that the administrators’ gendered pattern impacted significantly on the ethical code outcome in the study areas. Outcome analysis confirmed that thesocial workers’ understanding of ethical code application has significantly correlated with their integer years of practice experience, whereas, the perceived difficulties presumably had partial correlations within the study areas. Moreover, the ethics concerning the integrity of profession, the professional responsibility, the service delivery and the competence/confidentiality explained for the integer years of practice experience. Furthermore, the integer years significantly ensure that social workers are coping with ethical dilemmas on familiarity and their professed complaint anxieties on the Ethical Code in the three study areas. Conversely, the study advocated for the assimilation of interactional justice approach that would enhance advocacy on social justice, human rights and professional accountability as well as stimulate competence within the bucolic social worker’s career. Social justice cognizance should be visible within the equity on performance. The study’s recommendations included advocating for quality rural social work interventional support and improvement on qualification and literacy level in the rural areas; also that there should be the recognition of a greater prioritisation of NASW/SACSSP ethical codes. As such, experienced practitioners should mentor newer practitioners to enhance effective and efficient professional responsibility with client-systems. Additional studies should explore the professional responsibility of practitioners amid the Service Charter for Victims of Crime (victims’ charter) designed to uphold social justice and to nurture a human rights philosophy in guaranteeing the material, psychosocial and emotional needs of victims. Hence, further research on utilising the study’s finding models for urban domain and proper professional training, adherence to these models and awareness of legal ethics is recommended. Further studies should focus on examining administrators-practitioners relationship outcome to policies regulations as they are geared towards the Code; likewise to inspect social entrepreneurial activity using the Service Delivery Model to re-bolster industrial social work.

This thesis explores the generic interaction between Virgilian pastoral and Ovidian epic. My primary goal is to bring pastoral, substantially enriched by important critical work thereupon in recent decades, more energetically into the scholarly discussion of the Metamorphoses, whose multifaceted generic interplay is often limited to the study of its interaction with elegy. Secondarily, I hope to show how the Metamorphoses plays a pivotal role in the re-reading of the Eclogues. The fact that both epic and pastoral are written in hexameters facilitates the interaction between the two and enables the Metamorphoses’ repeated short-term transformations into pastoral poetry, which often end abruptly. I will try to show that although the engagement with pastoral occasionally appears to threaten the epic code of the poem, pastoral is ultimately integrated in the Metamorphoses’ generic self-definition as epic and partakes in Ovid’s dynamic recreation of the genre. My primary method is that of intertextuality, resting on the premise that all readings of textual relationships, as the one suggested here, are acts of interpretation. I also explore pastoral in the Metamorphoses intratextually by joining together various pastoral episodes of the Metamorphoses and arguing how similar thematics are replayed and rewritten throughout the poem. The main perspectives from which I examine pastoral in the Ovidian epic are those of fiction and the development of the thematics of the Golden Age. In the first part, I explore instances of song performances in the Metamorphoses, i) musical contests, ii) solo performances and iii) laments, in which I argue that pastoral is extensively at work. I suggest that the Metamorphoses employs pastoral’s overriding generic self-obsession and its tendency to create its own fiction internally, significantly through the means of singing performance and repetition. I argue that the mythopoetic means of pastoral are applied and reworked in the Metamorphoses for the creation of its epic world and heroes. In the second part, I explore the repeated occurrences of the Golden Age theme in the Metamorphoses and suggest that the remarkable engagement with pastoral is employed both to invite a political reading of the Golden Age, as set by Eclogue 4 and its post-Eclogues occurrences, and to recap the introversion of the pastoral enclosure and its seclusion from politics.

Orientador: Alcir Pecora
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Ao reler a Fábula de Polifemo y Galatea de Góngora, esta Engenhosa Bucólica Seiscentista, tendo em vista os regimes retóricos de representação letrada, assim como a especificidade aguda da preceptiva poética coetânea, procura delinear um viés interpretativo que se esquiva tanto do paradigma psico-sociológico, empreendido, de modo exemplar, na fortuna crítica de Góngora, por Robert Jammes, quanto da linhagem estilística postulada por Dámaso Alonso. Recuperando categorias interpretativas forjadas pelas principais Artes de Engenho, sobretudo as de Emanuele Tesauro e Baltasar Gracián, o presente estudo, em convergência com os novos trabalhos dedicados às retóricas ibéricas, como, por exemplo, o de Antonio Martí e o de Luisa López Grigera, examina a atualização gongórica da fábula greco-latina, atendo-se, por um lado, ao procedimento tropológico-analítico que particulariza a elocução de Góngora e, por outro, ao incremento cortês, que ali afeta o arranjo convencional do argumento fabular, concebendo ambos sob o signo de uma emulação, que, ao pressupor o aprimoramento da língua romance, empenha-se na institucionalização, via consenso erudito, de um decoro agudo, ou seja, de um uso que, ao restringir seus campos de interlocução, imagina uma companhia engenhosamente discreta.
Abstract: In reading once more the Góngora's Fable of Polyphemus and Galatea, having in mind the oratorical procedures of erudite representation, as well as the acute specificity of the coetaneous preceptive poetry, this Sixteenth-century-Ingenious Bucolic searches for delineating an interpretative bias that takes away as much from the psycho-sociological paradigm undertaken exemplarily by Robert Jammes' critical review of Góngora, as from the stylistic linage postulated by Dámaso Alonso. In recuperating the interpretative categories established by Emanuele Tesauro's and, above all, Baltasar Gracián's Artes de Engenho (Art of Inventiveness), the current research, along the new studies devoted to the sixteenth-century Iberian rhetoric, like those of Antonio Martí and of Luisa López Grigera, on the one hand it examines the Gongoristic review of the Greco-roman fable focusing on the tropologic and analytical procedure that particularizes the Góngora's elocution; on the other hand, it focuses on the courteous increment that affects the conventional arrangement of the fabled argument, conceiving both of them under the signal of a emulation that, in presupposing the improvement of the Romance language, it is committed to the institutionalization, via scholarly consensus, of an acute decorum, in other words, of a use that, in limiting its fields of interlocution, imagines a ingeniously discreet companionship.
Universidade Estadual de Campi
Teoria e Critica Literaria
Doutor em Teoria e História Literária

RésuméLa notoriété de Marcel Pagnol n’est plus à attester, mais force est de reconnaître que les universitaires ne manifestent généralement pas de considération pour lui. Ce magicien des mots, ce conteur héritier de la tradition orale provençale, joue avec virtuosité de la parole, et sa création est le résultat d’interférences littéraires. Les différentes perspectives de l’œuvre de Marcel Pagnol, qui prend sa source dans sa formation classique, ont déterminé cette recherche, laquelle se concentre sur une analyse de certains de ses écrits. Ainsi vise-t-elle à une reconnaissance de son capital symbolique et de son apport à la littérature. Le classicisme qui imprègne l’éducation qu’il a reçue, a orienté l’ensemble de ses réalisations littéraires, théâtrales et cinématographiques; en conséquence, il en a déterminé sa réception, car le caractère de son œuvre, enrichie par l’héritage antique et le patrimoine culturel provençal, est d’avoir atteint l’universel. Ce travail porte sur les aspects de ses écrits qui reflètent non seulement l’éducation, mais surtout la capacité de l’auteur d’utiliser des genres différents tels que la bucolique et ses ramifications qui vont de la poésie au roman et au théâtre, puis au cinéma avec lequel il entretiendra des rapports étroits et complémentaires. Influencé par la musique et par la culture latine et provençale, Marcel Pagnol est sorti des sentiers battus de la littérature de son époque, en mettant son originalité créatrice au service de la poésie, de la prose, du théâtre et du cinéma
AbstractThe notoriety of Marcel Pagnol is no longer to be attested to, but it is clear academics do not generally show any consideration for him. This magician of words, this storyteller heir to the Provencal oral tradition, plays as a virtuose with speech, and his creation is the result of literary interferences. The different perspectives of the work of Marcel Pagnol, which has its source in his classical training, have determined this research, which focuses on analysis of some of his writings. Thus, this aims at recognizing his symbolic capital and contribution to literature. The classicism that permeates the education he received has guided all his literary, theatrical and cinematographic achievements; consequently, it determined his reception because the character of his work, enriched by the ancient heritage and the Provençal cultural patrimony, is to have reached universality. This thesis focuses on aspects of his creations, which reflect not only his education, but especially the ability of the author to use different genres such as the pastoral and its ramifications, which range from poetry to novel and to theater, then to film with which he will maintain close and complementary relations. Influenced by Music, Latin and Provençal culture, Marcel Pagnol diverged from the beaten track of literature of his time, by putting his creative originality at the service of poetry, prose, theater and film

Dans cette thèse est proposée une définition du genre poétique bien connu qu’est la poésie bucolique. Son point de départ réside dans le double statut qui la caractérise : c’est à la fois un titre (les Bucoliques) et un genre (la poésie bucolique). Le fait de privilégier l’un ou l’autre de ces statuts oriente la définition qui est retenue. Nous avons donc examiné les sources antiques et tenté d’inverser la perspective habituellement retenue : alors que l’on considère souvent que c’est le genre qui a engendré le titre, nous pensons que c’est le titre (Bucoliques) qui a engendré le genre. En d’autres termes, à l’origine, un poème bucolique n’est pas un « poème de bouviers », mais un poème contenu dans un recueil intitulé Βουκολικά. Ce n’est que dans un second temps que le sens du titre originel (Βουκολικά) se serait restreint au genre tel que nous le connaissons aujourd’hui (une « poésie de bouviers », souvent réduite à une « poésie de pâtres ») et qui aurait entraîné, à la fin de l’Antiquité, le remplacement de ce titre par les mots « idylles » et « églogues », qui à l’origine n’avaient aucun rapport avec la poésie bucolique. La définition du poème bucolique que nous proposons est fondée sur la rencontre entre deux personnes et l’interprétation d’un chant, car ce schéma s’observe dans la plupart des poèmes bucoliques, y compris post-théocritéens. Dès lors opère une loi de variation censée varier le genre des chants insérés. Cela créée une hiérarchie entre les genres : le poème bucolique n’est pas un poème de bouviers, mais un poème comportant l’interprétation d’un chant dont le genre est appelé à varier. La notion de « mime » n’est ici étudiée qu’à titre de variante de la bucolicité. En effet, trois poèmes de Théocrite sont ainsi décrits parce qu’ils n’appartiennent ni au monde de la campagne (poèmes bucoliques), ni au monde des héros (epyllia). Nous analysons la manière dont cette catégorie s’est constituée, puis sa pertinence : si elle permet à n’en pas douter de constater des codes communs entre les poèmes de Théocrite et ceux d’Hérondas, elle ne doit pas faire oublier que la différence métrique entre les deux auteurs implique une différence d’esthétique
The aim of this study is a definition of Bucolic poetry. Nowadays it can be analized as a title (Bucolics) or as a poetry genre (bucolic poetry). The choice which is made between these two categories has consequences on the way bucolic poetry is theorised. I try to demonstrate that the genre was invented out of the title : at first, a bucolic poem was no more than a poem included in collection entitled Βουκολικά. At the end of Antiquity this title had been changed into Idylls in the Greek-speaking World and into Eglogues in the Latin-speaking world because the definition has changed. « Bucolicity » is based not on the cowherd, but on a scenario which is repeated from a poem to another : two people meet, a song is sung, and the people leave each other. Any poetic genre could be included in the song which is sung, so I distinguish the bucolic poem from the inserted song which lies inside. I then compare Theocritus to Herodas and Sophron because some bucolic poems are nowadays called « urban mimes ». The name of this categorie is modern, so it shows how new definitions (and new termes) are constantly proposed for poetic genres

Orientador : Alcir Pecora
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O agudo lugar ameno analisa a composição do cenário bucólico tal qual aparece na Fábula dePolifemo e Galatéia de Góngora. Atento, não somente, à tradição retórica e poética greco-Iatina, mas também às preceptivas agudas do século XVII, enfrenta os dois componentes teóricos que preceituam os procedimentos técnicos de descrição aí empregados. Ao tomar como objeto um tópico especifico da invenção, torna-se possível executar o cotejo do texto gongórico com modelos poéticos emulados: Homero, Teócrito, Virgilio, Ovídio, Garcilaso, entre outros, distinguindo, assim, em que medida Góngora aplica os procedimentos elocutivos agudos à matéria antiga, fazendo com que ela, novamente, salte aos olhos com vivacidade. Sendo assim, esse estudo promove um comentário amiúde dos excertos da fábula que afetam a descrição do cenário em suas distintas partes: na narração, como componente da descrição de pessoa; na ação, como cenário propriamente dito e na alocução passional de Polifemo. Depois de passar pelo lugar ameno gongórico, o trabalho se orienta em direção aos procedimentos inventivos e elocutivos da tradição greco-Iatina, reformulados por duas das principais preceptivas do engenho: O CannocchialeAristotelíco de Emanuele Tesauro e a Agudeza y Arte de Ingenio de Baltasar Gracián. Estas preceptivas manifestam o ajuste teórico empreendido pelos autores do XVII, a fim de adequar a tratadística antiga aos usos elocutivos que lhe são hodiernos, fornecendo assim um parâmetro, bastante verossímil, para a mensuração da difusão dos procedimentos engenhosos na Espanha do sigla de oro. Sendo Góngora o modelo máximo no gênero
Resumen: O agudo lugara meno analiza Ia composición dei escenario bucólico tal como aparece en Ia Fábula dePolifemoy Galatea de Góngora. Atiende tanto Ia tradición retórica y poética greco-Iatina como Ias preceptivas agudas dei siglo XVII, enfrentando los dos componentes teóricos que rigen su uso de los procedimientos técnicos de Ia descripción. AI tomar como objeto un único tópico de Ia invención, fue posible cotejar el texto gongorino con los modelos poéticos emulados: Homero, Teocrito, Virgilio, Ovidio, Gracilaso, entre otros, distinguiendo de este modo en qué medida Góngora aplica los procedimientos elocutivos agudos sobre Ia materia antigua, haciendo con que ésta salte aios ojos con vivacidad. Así, O agudo lugar ameno promueve un comentario detallado de los trechos de Ia fábula que afectan Ia descripción dei escenário en sus distintas partes: en Ia narración, como componente de Ia descripción de Ia persona; en Ia acción, como con el escenário propiamente dicho, y en Ia alocución pasional de Polifemo. Después de pasar por ellugar ameno gongoriano, el trabajo se orienta en Ia dirección de los procedimientos inventivos e elocutivos de Ia tradición greco-Iatina, reformulados por dos de los principales preceptistas dei ingenio: Il Cannocchiale Aristotelico, de Emanuele Tesauro y Ia Agudeza y Arte de Ingenio, de Baltasar Gracián. Estas preceptivas manifiestan el ajuste teórico emprendido por los autores dei siglo XVII - que querian adecuar Ia tratadística antigua a los usos elocutivos que les eran contemporáneos -, contribuyendo así con un parámetro bastante verosímil para Ia difusión de los procedimientos ingeniosos en Ia Espana dei sigla de oro: Góngora es el máximo modelo en este género
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

Este trabalho desenvolve algumas reflexões sobre o bucolismo de Virgílio e sua originalidade. Discorreremos sobre a origem deste gênero, como também sobre os temas característicos da poesia bucólica que são o cenário bucólico, o amor heterossexual, homossexual e o amor-veneração e os elementos mitológicos. Dividimos o estudo sobre o estilo virgiliano em três partes. Na primeira, mostraremos a presença dos helenismos nas Bucólicas. Na segunda, veremos as estruturas sintáticas que mais aparecem em sua poesia: o paralelismo sintático, o uso do vocativo, o uso do imperativo e a presença de elipses e zeugmas. Num último momento, focalizaremos o ritmo, a musicalidade e as figuras de harmonia, de construção, de repetição e quiasmo, de pensamento e os tropos. As alusões políticas em Virgílio também serão registradas e exemplificadas nesta dissertação. Na conclusão, focalizaremos dois gêneros literários especiais que estão presentes nas Bucólicas - o canto amebeu e o epigrama - gêneros esses que contribuem para acentuar o hibridismo no poema de Virgílio. Outrossim, podemos afirmar que As Bucólicas de Virgílio serviram de paradigma para as literaturas posteriores das civilizações contemporâneas de ascendência greco-latina.
This research introduces some reflections about Virgil\'s bucolic poetry and his originality. Considerations are made about the origins of this genre, as well as about the themes which are recurrent in bucolic poetry, such as bucolic landscape, heterosexual and homosexual love, love-admiration, and mythological elements. We have divided the study of Virgilian style in three parts. In the first part, the presence of Hellenic traits in the work Bucolics is suggested. In the second part, recurrent syntactic structures in his poetry are explored: syntactic parallelism, the use of the vocative, the use of the imperative form, ellipsis and zeugma. Finally, focus is given to rhythm, musicality and figures of harmony, repetition and chiasm, of thinking and tropes. Political allusions in Virgil are also discussed and exemplified in this dissertation. In the conclusion, two special literary genres are introduced, which feature in Bucolics - the amebeu chant and the epigram, which contribute to Virgil\'s poem being a text in which one can notice hybridism, in generic terms. Virgil\'s Bucolics became a paradigmatic work to literature in civilizations of both Greek and Latin ascent.

Dans notre thèse de doctorat, nous avons publié presque intégralement l’édition critique commentée de l’exégèse au Bucolicum carmen de Pétrarque réalisée par Francesco Piendibeni de Montepulciano, humaniste italien du Trecento tardif. L’exégèse, achevée à Pérouse en 1394, est conservée dans le manuscrit autographe Città del Vaticano, Biblioteca Apostolica Vaticana, Pal. lat. 1729. Dans son ensemble, l’oeuvre est restée jusqu’à aujourd’hui inédite : seul Antonio Avena, en 1906, a fourni une simple transcription, partielle et imparfaite, de quelques gloses. Notre édition a l’ambition d’être novatrice : non seulement elle établit et analyse de manière critique un texte resté longtemps méconnu, mais elle permet aussi d’approfondir la connaissance du poème bucolique de Pétrarque, de mieux évaluer sa réception auprès des érudits qui lui ont succédé et d’éclairer la connaissance de la tradition exégétique du premier Humanisme. Une source fondamentale pour Piendibeni est le commentaire au Bucolicum carmen réalisé par Benvenuto da Imola : nous enavons fourni une transcription inédite tirée du manuscrit Paris, Bibliothèque nationale de France, lat. 8700. Enfin, nous avons mis à jour la liste des manuscrits connus qui appartinrent à Piendibeni et reconstruit ainsi pour la première fois de manière approfondie sa bibliothèque
This doctoral thesis presents, almost in its entirety, the critical edition with commentary of the exegesis of Petrarch’s Bucolicum carmen by Francesco Piendibeni of Montepulciano, an Italian humanist of the late Trecento. The exegesis, completed in Perugia in 1394, is preserved in the autograph manuscript Città del Vaticano, Biblioteca Apostolica Vaticana, Pal. lat. 1729. The work as a whole has remained unpublished until today; only Antonio Avena, in 1906, provided a simpletranscription, partial and imperfect, of some glosses. The edition contained in this thesis aims at being innovative; in effect, it not only establishes and critically analyses a text which has remained unknown for a long time, but also makes it possible to delve deeper into the knowledge of Petrarch’s bucolic poem, to better assess how it was received by the scholars who came after him and to shed light on the exegetical tradition of early Humanism. A fundamental source for Piendibeni was Benvenuto da Imola’s commentary on the Bucolicum carmen; an unpublished transcription is provided here, based on the manuscript Paris, Bibliothèque nationale de France, lat. 8700. Finally, the list of known manuscripts belonging to Piendibeni has been updated, so that, for the first time, his library has been exhaustively reconstructed

Diss.--Philosophische Fakultät I--Universität Zürich, 1991.
Contient le texte latin des églogues 1 à 5, 8 et 11 du "Bucolicum Carmen" de Pétrarque et la trad. allemande en regard. Bibliogr. p. 322-326. Notes bibliogr. Index.

UP Zavody Bucovice was a an important furniture company in Czechoslovakia. At the end of the 20th century, production in Bucovice was terminated and the abandoned site became the largest brownfield area in the city. In early 2018, the city bought the land and began demolition of the existing production facilities and buildings. The new city district will be created after demolition. The new area will offer significant urban development potential of the city of Bucovice.

La littérature québécoise du XIXe siècle souffre de lourds préjugés que la critique contemporaine semble difficilement dépasser. Il est principalement reproché aux auteurs d’écrire de mauvais romans, privilégiant le fond au détriment de la forme. Pourtant, la lecture des œuvres publiées durant cette période indique clairement que certains écrivains font un usage massif de références à la culture classique. Ce recours intertextuel systématique leur permet d’inscrire le littéraire dans leurs œuvres tout en les rattachant aux genres épique et bucolique. Or, l’intertextualité gréco latine intervient précisément dans une période agitée par des querelles sur l’enseignement des œuvres classiques dans les collèges. Au cœur de cette polémique, une mouvance intellectuelle marquée par les idées de Monseigneur Gaume reproche à la littérature païenne de pervertir la jeunesse et prône un enseignement exclusif du latin chrétien. L’ampleur du débat dans la presse de l’époque est telle que les écrivains – qui ont tous été scolarisés dans des collèges classiques – ne pouvaient en aucun cas l’ignorer. La présente thèse étudie ainsi le dialogue intertextuel mené dans la production littéraire québécoise entre 1850 et 1870. Analysant l’image et la fonction de la culture gréco-latine dans les milieux littéraires québécois durant toute la querelle gaumiste, elle projette un nouvel éclairage sur les textes et met en évidence le savant travail littéraire effectué par leurs auteurs.
Nineteenth-century Quebec literature suffers from severe prejudice that contemporary critics seem unable to overcome. Authors are mainly criticized for writing bad novels, focusing on the content to the detriment of the form. However, the reading of works published during this period clearly indicates that some writers made an extensive use of references to classical culture. This systematic resort to intertextuality allowed them to introduce literary elements into their works while linking them to the epic and bucolic genres. But the Greco-Roman intertextuality intervened precisely in a time agitated by disputes over the teaching of classics in colleges. At the heart of this controversy, a movement of intellectuals influenced by the ideas of Monseigneur Gaume criticized pagan literature for perverting the youth, and promoted an exclusive teaching of Christian Latin. The extent of the debate in the press of the time is such that the writers – all of whom were educated in classical colleges – could by no means ignore it. Thus, the present thesis studies the intertextual dialogue conducted in Quebec’s literary production between 1850 and 1870. Analyzing the image and function of the Greco-Roman culture in Quebec’s literary circles during the entire Gaumist quarrel, it puts the texts under a new light and underlines the clever literary work performed by their authors.

Treatise (D.M.A.) Florida State University, 2008.
Advisor: Beth Newdome, Florida State University College of Music. Title and description form dissertation home page (viewed 4-7-2009). Document formatted into pages; contains 56 pages.