Diction, Dialect, and Speech in Nineteenth-Century Lyric A
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The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century
The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica. -
THE INFLUENCE of MILTON Oi WORDSWORTH's POETRY
THE INFLUENCE OF MILTON Oi WORDSWORTH'S POETRY APPROVED; Major.Professor kI JLJBL4^£,\^Xk\4 Minor Professor ^ Director of the Department of English £**r^Vu De&h of tha^Braduate School THE INFLUENCE OF MILTON ON WORDSWORTH'S POETRY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By 179878 Luree Burson, B. A* Silverton, Texas August, 1950 N. T. S. C. LIBRARY 179878 TABLE OF CONTENTS Chapter Page I. MILTON'S FAME IN WORDSWORTH'S DAY . 1 II. THE INFLUENCE OP MILTON ON WORDSWORTH'S POLITICAL VIEWS, PROSE, AND EARLY POlTfiT . 34 III. WORDSWORTH'S SONNETS AND SHORTER POEMS IN BLANK VERSE ........... 60 IV. THS PRELUDE AND THE EXCURSION .... 77 V. CONCLUSION .............. 94 BIBLIOGRAPHY ................. 102 iii CHAPTER I MILTON1S FAME IS WORDSWORTH'S DAI Throughout the eighteenth century the literary reputation of Milton had steadily grown, but the poetry of Milton had never been more generally or ardently admired by men of letters than during the time of William Wordsworth* The early romanticists seemed to have been responsible for this. When roaanticisa became the dominant word in English literature, it was only natural that the works of Milton, along with those of Spenser and Shakespeare, should enter upon an era of great popularity. Biographies of Milton were numerous, but the numerous editions of his works give the best basis for proof of his fame during that period. With particular reference to Paradise Lost this can be noted. Here a genuine surprise awaits us, for we find that between 1705 and 1$Q0 Paradise Lost was published over a hundred times! fhe wonder grows when we look at the Faerie Queene. -
Manzoni, Gli Untori E I Giudici Compiacenti Migranti, Paura
Giovedì 12 marzo 2020 · Anno 2° numero 51 · € 2,00 · www.ilriformista.it · Quotidiano · ISSN 2704-6885 Direttore Piero Sansonetti Appello congiunto di Camere Penali e del Riformista. Basta un decreto IL ECCO COME RISOLVERE IL COVID-19 È PANDEMIA Chiudo... non chiudo... Ci aspettiamo un aumento del numero ...Chiudo... non chiudo... IL PROBLEMA dei casi, delle morti e dei paesi coilpiti CARCERI Non siete soli. In Europa siamo IN DUE GIORNI tutti italiani, vi sosterremo Piero Sansonetti Unione Camere Penali e il Riformista hanno preparato un appello al governo, nel qua- le chiedono un decreto che risolva il problema del sovraffollamento delle carceri. È un decreto semplice e che proponiamo in forma molto dettagliata, che non richiede mag- L’ gioranze qualifi cate, che può essere scritto e approvato in poche ore e può diventare ese- cutivo in 48 ore. Le scarcerazioni non riguarderanno pericolosi assassini seriali o capimafi a, ma “il proletariato” del carcere, cioè i detenuti colpevoli di delitti di non grande entità e che hanno ri- cevuto piccole condanne (inferiori ai due anni) e tuttavia non godono della condizionale, o di de- tenuti che hanno ormai scontato quasi interamente la pena, o di ultrasettantenni. In tutto, circa 20mila persone. Ci aspettiamo dalla politica una risposta molto celere a questa proposta. A pagina 4 La petizione Inquadra il QR CODE o vai all’indirizzo http://bit.ly/DRAMMA_CARCERI e fi rma SEGUE A PAGINA 2 subito l’appello al Governo Manzoni, gli untori Migranti, paura contagio e i giudici compiacenti Ma frega a qualcuno? Walter Siti questo non signifi ca non poter giudicare gli er- Giulio Cavalli vano. -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
“Drammaticità Di Leopardi” (1938): a Stage on Alberto Savinio's Route To
ITALIAN MODERN ART | ISSUE 2: “Drammaticità di Leopardi” ISSN 2640-8511 A Stage on Alberto Savinio’s Route to a More “Romantic” Italy "DRAMMATICITÀ DI LEOPARDI" (1938): A STAGE ON ALBERTO SAVINIO'S ROUTE TO A MORE "ROMANTIC" ITALY italianmodernart.org/journal/articles/drammaticita-di-leopardi-1938-a-stage-on-alberto- 0 savinios-route-to-a-more-romantic-italy Martin Weidlich Alberto Savinio, Issue 2, July 2019 ----------https://www.italianmodernart.org/journal/issues/alberto-savinio/· -- Abstract This paper deals with Alberto Savinio’s 1938 conference “Drammaticità di Leopardi,” presupposing the nineteenth-century poet as one of his most important sources. Tracking a hidden self-portrait in Savinio’s homage to Giacomo Leopardi, we encounter the problem of identity and the question of cultural belonging. This key issue seems to unite Savinio with Leopardi: both can be considered as outsiders within their culture, and this status appears to be globally connected with their modernity. Thus, dealing with Savinio and Leopardi promises to provide further understanding of “anti-modern” Italian culture from its margins. Introduction 1 Romantic feeling was once characterized by Alberto Savinio as an “invito a morire,” an “invitation to die.” Perhaps nowhere in Italian literature would Giorgio de Chirico’s younger brother have encountered as near perfect an example of this phenomenon as in Giacomo Leopardi’s “Cantico del Gallo Silvestre” (Song of the great wild rooster ).2 In this work of prose – which formed a part of the nineteenth-century poet’s collection Operette morali (The moral essays; the first group of texts was published in 1827) – a large rooster tells of how everything that exists more or less consciously desires not to be. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Using Italian
This page intentionally left blank Using Italian This is a guide to Italian usage for students who have already acquired the basics of the language and wish to extend their knowledge. Unlike conventional grammars, it gives special attention to those areas of vocabulary and grammar which cause most difficulty to English speakers. Careful consideration is given throughout to questions of style, register, and politeness which are essential to achieving an appropriate level of formality or informality in writing and speech. The book surveys the contemporary linguistic scene and gives ample space to the new varieties of Italian that are emerging in modern Italy. The influence of the dialects in shaping the development of Italian is also acknowledged. Clear, readable and easy to consult via its two indexes, this is an essential reference for learners seeking access to the finer nuances of the Italian language. j. j. kinder is Associate Professor of Italian at the Department of European Languages and Studies, University of Western Australia. He has published widely on the Italian language spoken by migrants and their children. v. m. savini is tutor in Italian at the Department of European Languages and Studies, University of Western Australia. He works as both a tutor and a translator. Companion titles to Using Italian Using French (third edition) Using Italian Synonyms A guide to contemporary usage howard moss and vanna motta r. e. batc h e lor and m. h. of f ord (ISBN 0 521 47506 6 hardback) (ISBN 0 521 64177 2 hardback) (ISBN 0 521 47573 2 paperback) (ISBN 0 521 64593 X paperback) Using French Vocabulary Using Spanish jean h. -
Separate and Consolidated Interim Financial Statements As at 30 June 2020
Separate and Consolidated Interim Financial Statements as at 30 June 2020 Separate and Consolidated Interim Financial Statements as at 30 June 2020 Contents 7 Introduction 17 Report on Operations 171 Interim Separate Financial Statements as at 30 June 2020 239 Interim Consolidated Financial Statements as at 30 June 2020 303 Corporate Directory 4 Contents Introduction 7 Corporate Officers 8 Organisational Structure 9 Introduction from the Chairman of the Board of Directors 11 Financial Highlights 12 Report on Operations 17 Mission 18 Market scenario 18 The Rai Group 24 Television 41 Radio 97 RaiPlay and Digital 107 Public broadcasting service function 116 TV production 119 Technological activities 120 Transmission and distribution activities 129 Sales activities 130 Other activities 135 Changes in the regulatory framework 143 Corporate governance 148 Corporate Governance Report - the Rai Control Governance Model and the Internal Control and Risk Management System (SCIGR) 150 Other information 155 Human Resources and Organisation 155 Safety & Security 159 Intercompany Relations 161 Significant events occurring after 30 June 2020 168 Outlook of operations 168 5 Interim Separate Financial Statements as at 30 June 2020 171 Analysis of the results and performance of operating results, financial position and cash flows for the first half of 2020 172 Financial Statements of Rai SpA 186 Notes to the Interim Separate Financial Statements as at 30 June 2020 191 Certification pursuant to article 154-bis of Italian Legislative Decree 58/98 235 Independent -
Rossini Propició El Futuro De La Ópera
www.proopera.org.mx • año XXVI • número 1 • enero – febrero 2018 • sesenta pesos ENTREVISTAS Andeka Gorrotxategi Óscar Martínez ENTREVISTAS EN LÍNEA Mojca Erdmann Nancy Fabiola Herrera Willy Anthony Waters FESTIVALES Cervantino XLV OBITUARIO Dmitri Hvorostovsky JohnJohn OsbornOsborn “Rossini“Rossini propiciópropició el futuro de la ópera”pro opera¾ DIRECTORIO REVISTA COMITÉ EDITORIAL Adriana Alatriste índice Luis Gutiérrez Ruvalcaba Andrea Labastida Charles H. Oppenheim 3 Carta del Presidente FUNDADOR Y DIRECTOR EMÉRITO CONCIERTOS Xavier Torres Arpi 4 Juan Diego Flórez: Canto a México EDITOR Charles H. Oppenheim 6 En breve 6 [email protected] CORRECCIÓN DE ESTILO CRÍTICA Darío Moreno 8 Otello en Bellas Artes COLABORAN EN ESTE NÚMERO 10 Ópera en México Othón Canales Treviño Carlos Fuentes y Espinosa Luis Gutiérrez Ruvalcaba PROTAGONISTAS Ingrid Haas 12 Andeka Gorrotxategi: Ramón Jacques “Me encantaría tener puestas José Noé Mercado todas las óperas de Puccini” David Rimoch Vladimiro Rivas Iturralde RESEÑA Gamaliel Ruiz 15 Arreglo de bodas en el Cenart José Andrés Tapia Osorio David Josué Zambrano de León 16 Ópera en los estados 15 www.proopera.org.mx. FESTIVALES CORRESPONSALES EN ESTE NÚMERO 20 Cervantino XLV Eduardo Benarroch Francesco Bertini Abigaíl Brambila ENTREVISTA Jorge Binaghi 22 Óscar Martínez: John Koopman Un cantante versátil Daniel Lara y un maestro ecléctico Gregory Moomjy Maria Nockin OBITUARIO Gustavo Gabriel Otero 25 Dmitri Hvorostovsky (1962-2017) Joel Poblete Roberto San Juan Ximena Sepúlveda PORTADA Massimo Viazzo 26 John Osborn: “Rossini propició el futuro de la ópera” FOTOGRAFIA Ana Lourdes Herrera ESTRENO 25 DISEÑO GRAFICO 32 La degradación de la burguesía: Ida Noemí Arellano Bolio The Exterminating Angel, desde Nueva York DISEÑO PÁGINA WEB TESTIMONIAL Christiane Kuri – Espacio Azul 34 Pro Ópera en Los Ángeles DISEÑO LOGO 36 México en el mundo Ricardo Gil Rizo IMPRESION ÓPERA EN EL MUNDO Grupo Gama. -
Romantic Age :– an Introduction
ROMANTIC AGE :– AN INTRODUCTION DR. MANOJ KUMAR CHATURVEDI Assist. Prof. English, Janta Mahavidyalay, Ajeetmal, Auriya (UP) INDIA The Romantic period in English Literature has a very wide sense in itself. As it has taken its birth from French revolution which took place in 1789. But the exact date of the beginning of Romantic period with the publication of “Lyrical Ballad” in 1789 by words worth with the collaboration of Coleridge. There were many changes seen in the poetry of Romantic period. The poets of like Wordsworth, Coleridge, Shelley, Keats and Byron challenged the theory of poetry propounded by the poets of the eighteenth century. Wordsworth made a cry to his fellow poets “Return to Nature”. The Romantic period is special and unique in the Horizon of English literature. Actually romanticism became a controversial word with three phenomena associated with a change occurring in utopian sensibility towards the end of the 18th Century and extending into the present. Basically it started in Germany and England during the 1790’s as a new mode of imagination and vision and spread with considerable modification throughout Europe between 1800 and 1830. Keywords: Meaning of The word ‘Romance’, beginning of The Romantic Period, Characteristics, major poets of the period, type of poetry, etc. INTRODUCTION The word ‘romance’ which was originally used to signify a long tale in prose or verse, changed its meaning, in the course of time and came to stand for the modern as opposed to the antique or classical writings. “It was the German critic Friedrich Schlegel, who had first used the term Romantic to designate a school of literature as opposed to the classic. -
Giacomo Leopardi (1798-1837) Is Better Known As a Remarkable Poet and Writer Than a Philosophical Thinker
Vol. 5, no. 1 (2010) Category: Article Written by Geir Sigurðsson Giacomo Leopardi (1798-1837) is better known as a remarkable poet and writer than a philosophical thinker. However, he followed closely the philosophical developments of his time, was profoundly critical of it, and even formulated a rather complex, albeit unsystematic, philosophical response, mainly in his chronological diaries, the Zibaldone di pensieri, but also in many of his novels, dialogues and essays. The aim of this paper is to elucidate the core of Leopardi‘s existential critique of the philosophical views dominating the late eighteenth and the beginning of the nineteenth centuries, in particular those found in German Idealism and Romanticism, and provide an introduction to the Leopardian ‘ultraphilosophy’, as he chose to call it himself, a kind of philosophy meant to overcome the ills of the ‘progressive’ philosophy of his day. I. Romanticism was largely a reaction to the rational and materialist pursuit of modern science and the secularism of the Enlightenment philosophy. In Germany, a number of Romantic poets rejected Immanuel Kant‘s vision of art as being governed by reason, and rather saw art as juxtaposed with nature as a second language communicated by God to the human being. In this way, however, they also joined forces with science and philosophy by attempting to comprehend being, albeit through different means. The ‘productive imagination’, a notion originally coined by Kant in his Kritik der Urteilskraft, was conceived as a basic power of all creative potencies. It was held to simultaneously beget and behold, and that its beheld ideas were no arbitrary occurrences within the subjective mind, but revelations of nature, of the first cause of existence, of the world-spirit, of God.