Honors Projects for European Languages and Literature

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Now showing 1 - 5 of 5
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    The Aeneid, An Epic of Love
    ( 1967-05) Lactaoen, Augustin
    The Aeneid is much more than the story of the founding of Rome. Virgil has depicted a canvas which is personal and suffused with a new sensitivty, a moving narrative. He has, very artistically, woven into the story the underlying theme of love, an atmosphere which pervades all life.
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    The position of Freedmen in the Early Roman Empire
    ( 1969-06) Mark, Carol
    This thesis deals with the legal, social and economic position of this majority of freedmen. It proposes to show how they fared in Roman life, in consequence of their status as freedmen. Its scope includes only ordinary libertini, formally freed by a Roman master under normal conditions.
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    Early Greek Phiosophy and Ancient Concepts of Mental Health: An Evolutionary Analysis
    ( 1967-06) Moritsugu, Kenneth Paul ; Burns, Alfred
    The Classic Greek and Roman attitudes toward mental disorders were intimately related to philosophioal attitudes, and underwent a parallel evolution. It is interesting to note the similarity of the conoepts expressed by Plautus with that of the introspective school of psychology in reoent years; that is, a systematio analysis of experienoe by the individual who examines himself in retrospect wi tit the aid of the inquirer in all pertinent aspeots concerning the possible nature of his ailment.
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    Exaggereated Honor: A Comparative Analysis of Three Continental European Honor Plays of the Seventeenth and Eighteenth Centuries
    ( 1994-05) Chun, Aileen M. L. ; Hilt, Douglas
    Although it is defined as the integrity to one's beliefs, high respect, merit, or the sincerity for the highest moral principles, the concept of honor is ultimately distorted and exaggerated in the continental European plays under consideration. First, one must define the two types of honor within the plays: (1) the harmless, even ludicrous, honor, and (2) the meticulously constructed code of honor. The first category is usually a subject for· comedy, in which the protagonist is unaware of his/her derision while others receive great pleasure at his/her expense. Furthermore, this type of comedy usually includes ordinary folk. Minna von Barnhelm contains charac ars such as the aristocratic Minna's witty maid Franziska, the inquisitive Innkeeper, and the comic foreigner Riccaut de la Marliniere. The second category, however, presents a multiplicity of conspiracies and tragic misunderstandings between the characters. El Medico de Su Honra concerns a physician's misperception of his wife's actions, which results in her murder. The intrigue of Andromague incorporates unrequited love and rejected lovers, who ultimately commit suicide or go insane, expanding the concept of honor and simultaneously subverting it.
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    Running from Reality Escapism and the Pathetic Hero in Modern French Drama
    (University of Hawaii at Manoa, 2014-01-15) Lum, Kara ; Hoffmann, Kathryn ; European Languages and Literature
    The theatre of World War II and post-World War II France shows a great break from the theatre of any other time before. These plays, clustered in the late nineteen thirties and nineteen forties, show some revolutionary changes from the theatre of the previous centuries. More so than previous centuries, a wealth of literary movements co-existed at the same time and accordingly no one genre of theatre, such as drama and farce, seemed to dominate. The subject matter of this time also shows a great range; it is no longer limited to the upper classes, or as in Naturalism, the lower classes. Through the examination of the texts of Sartre, Genet, Ionesco and Anouilh, some unifying patterns emerge, which link the theatre of the time regardless of the subjects with which they deal or the literary movements with which their playwrights were associated. One such link is the reduction in circumstance of the setting and of the characters themselves. The protagonist or le heros of this time, has very little that is heroic about him. The hero has become pathetic. He is at best an average man, a mediocre man, and at worst a morally corrupt opportunist. The realities of life for the characters too have been diminished: the palaces of centuries ago have been replaced by dingy apartments and provincial railway stations. Even the intolerable poverty and suffering of Naturalism, which happened on such a grand scale, has been reduced to the paltry suffering of the individual. The world, like the characters, has lost much of its glory and beauty.