Browsing by Author "Wadsworth, Philip A."
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Item The Composition of Psyche(Rice University, 1967-10) Wadsworth, Philip A.; Electronic version made possible with funding from the Rice Historical Society and Thomas R. Williams, Ph.D., class of 2000.Item La conception de l'homme chez un poete impersonnel Jose-Maria de Heredia(1966) Lubinski, Lillian; Wadsworth, Philip A.José-maria de Heredia est un poète parnessien meis il est beaucoup plus complexe que ne le révéle une telle appellation. Cette thése sera alors, une considération de Heredia en tent que poéte impersonnel d'abord et puis dés cette base nous aborderons le côté personnel qui existe certaineent dans ses sonnets. Cette étude de José-Maria ee Heredia aura comme point de dépert une compréhension du Parnasse comme réaction contre l'exubarance des poètes romentiques et une courte étude biographique du poète qui aidera à la plus complete compréhension de l'homme et de l'oeuvre. Heredia eut un héritage de double culture, ce qui contribua beaucoup à l'enrichissement de la compréhension qu'll eut de l'homme. Il naquit à Cuba d'un père espagnol et d'une mére française. Il fut éduqué en France où tout le long des années scolaires et universitaires il se passionna pour la sagesse de l'antiquité, pour le classique. Il vécut une vie heureuse, sobre, et comblée de bonheur personnel, ainsi que d'honneur littéraire. Le couronnement de sa carriére vint quand il obtint la naturalisation française, la gloire des Trophées - son unique oeuvre - et one place dans l'Académie Française. Sa vie est le témoignage d'un poète réellement français mais qui possède un point de vue universel. La vision cosmique de Heredia vint du fait qu'il comprenait l'expérience humaine comme étant toujours partagée par tous les hommes de tous les siècles. L'homme seul est assez insignifiant mais s'il vit conscient des ages passés et en faisant de son mieux, il laissera une marque permanente qui enrichira le monde. L'homme ressent un besoin d'être reconnu pour ses efforts. En luttant pour la gloire il lutte aussi contre l'oubli. Heredia place la lutte humaine dans le contexte de l'éternité et de la puissance de la nature protectrice. Heredia veut nous montrer que malgré tontes ses faiblesses il y a une noblesse inhérente dans la race humaine qai se vouc vers le travail personnel, vers la conception du devoir terrestre. Ici il devient en quelque sorte plus personnel. Il considère le besoin qu'a chaque homme de chercher le bonheur et de se dépasser. L'homme doit reconnaître que la mort est inévitable et il n'atteint la liberté que quand il reconnaît l'immortalité du mulde el, sa propre mortelitée en vivant pleinement sans se heurter contre l'inévitable. Devant la beauté l'ame humaine s'exalte et elle devient perceptible à l'homme quand il atteint l'harmonie de ses mouvements dans le monde. José-Maria de Heredia eat un double but et un double soccès. En partant du point de vue objectif pour ne pas risquer de se laisser restreindre par des cas et des émotions isolées il aboutit à révéler sa personnalité. Le lecteur voit dans sa poésie les traits du caractère du poète; son respect pour la dignité humaine, sa joie de vivre, et son respect pour l'art. C'est une personnalité née do l'imporsonnalité où l'angoisse commune de l'homme, son universalité et sa quête à la liberté sont clairement discernable.Item La Fontaine and His Views on Marriage(Rice University, 1965-07) Wadsworth, Philip A.; Electronic version made possible with funding from the Rice Historical Society and Thomas R. Williams, Ph.D., class of 2000.Item La Fontaine's Theories on the Fable as a Literary Form(Rice University, 1971-04) Wadsworth, Philip A.; Electronic version made possible with funding from the Rice Historical Society and Thomas R. Williams, Ph.D., class of 2000.Item Le role de Sganarelle dans le theatre de Moliere(1969) Hofstetter, Susan Anne; Wadsworth, Philip A.The goal of this thesis, after recalling the origins of Moliere's comedy, is to formulate a general portrait of Sganarelle by examining the ideas of our critics about him, and by following him through the theatrical career of his creator. Moliere's comedy, although quite varied, returns always to its origins in the French farce and the Commedia dell'Arte. It was during the years in the provinces that the comedy of our author—actor was in part formed. Poquelin became Moliere, Moliere became the director of the troupe, and he began to write some plays for his troupe, to create roles for himself also. Arriving in Paris in 1658, his troupe was installed at the Petit—Bourbon Theater, where Moliere was then subjected to the influence of the Commedia. Mascarille seems to have been a sketch of Sganarelle. He appears in three plays, in two of which Moliere definitely played the role, in l'Etourdi ou les Contretemps and in les Precieuses ridicules. In all three, Mascarille is a valet, and probably masked. Moliere then abandoned the masked valet and turned to the demasked Sganarelle, whom he introduced in le Medecin volant. Always played by their creator, the Sganarelles all were related, and even today have some kinship in their nature. Sganarelle appears in six more plays, from 1660 to 1666: Sganarelle ou le Cocu imaginaire, l'Ecole des maris, le Mariage force, l'Amour Medecin, Dom Juan ou le Festin de Pierre, and in le Medecin malgre lui. In Sganarelle are united several of the marionettes of the ancient French farce, but, in bringing them closer to reality, Moliere allows them to become little by little more real and more alive. After 1666, Sganarelle disappears and individual names begin to represent characters even closer to life. Yet, Moliere always keeps to a certain extent the rigidity of the mask, that is to say, a character defined by a mask; even Alceste and Tartuffe have their roots in the farce, just as does Sganarelle.Item Les comedies-ballets de Moliere: genre de transition(1970) Godfrey, Karen Mary; Wadsworth, Philip A.The purpose of this thesis is to explore the influence of the ballet de cour on the comedies-ballets of Moliere and to show how the comedies-ballets not only perfected the dramatic elements of this previous form, but transformed them completely to create a new genre which eventually evolved towards the French Opera. The ballet de cour was an attempt to fuse the arts of Music, Dance, Poetry, and Painting into a dramatic form in order to recreate on the earth the celestial music of the spheres, thereby establishing peace and harmonie. In time, this original serious intention was forgotten, and the ballet de cour became a rather comical, loosely-united court spectacle whose main purpose was to please and flatter the nobility. However, if the ballet de cour did have more serious intentions, it took the form of social and political satire. Due to the great popularity of the spectacle, all of the leading artists, such as Benserade, Luny, and Corneille, at one time or another during the course of their careers, were commissioned to compose a ballet de cour, and Moliere was no exception. The great playwright, however, was led, by circumstances and by his own particular genius, to combine a comedie and a ballet de cour. The result was a new genre which unified the elements of the two forms into a cohesive whole. Not all of the comedies-ballets exhibit the same amount of cohesion and evenness, but others such as les Facheux, le Mariage force, l'Amour medecin, la Pastorale comique, le Sicilien, and le Bourgeois gentilhomme, achieve a fine cohesion. What is interesting to follow is the changing roles of the ballet and music in the comedies-ballets. Moliere began by placing the greatest amount of emphasis on the ballet, and he ended by shifting the importance to the music in his plays. His plays, then, are a transition piece from the ballet de cour to the French Opera.Item Scarron's Nouvelles Tragicomiques(Rice University, 1973-07) Wadsworth, Philip A.; Electronic version made possible with funding from the Rice Historical Society and Thomas R. Williams, Ph.D., class of 2000.