Auswahl der wissenschaftlichen Literatur zum Thema „?-1606 Criticism and interpretation“

This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers.<br>Department of English

Thesis (D. Th.)--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: The difficulties attending the reading 2 Cor 10-13 are widely recognized. This dissertation aims to interpret the text by means of socio-rhetorical analysis and to investigate what its real purpose is. Our hypothesis is that this Pauline discourse aims at the Corinthians’ edification by defending his apostolic lifestyle and so giving them a good example of imitatio Christi, imitatio Pauli (Chapter 1). Chapter 2 surveys the recent studies of 2 Cor 10-13 from various approaches, viz. literary historical approach, historical approach, rhetorical approach, and ethical and social-scientific approach. Because of the limited results of each approach used alone, we need a multidimensional and multi-disciplinary method is required. Chapter 3 reconfigures the sociorhetorical approach developed by Robbins into a fourfold dimensional analysis for a more adequate reading of 2 Cor 10-13: a rhetorical analysis; an analysis of intertexture and rhetorolect; an analysis of social, cultural and ideological texture; and an analysis of sacred texture. Chapter 4 analyzes the rhetoric of 2 Cor 10-13. The four realities of the rhetorical situation are the invasion of the outsiders against Paul, the discontent of the insiders with Paul, the conflict concerning Paul’s support, and the plan of Paul’s upcoming visit. The rhetorical arrangement, as a deliberative argumentation but including judicial and epideictic elements, is summarized as follows: exordium and propositio (10:1-11); narratio (10:12-18); argumentatio (11:1-13:4); peroratio (13:5-10). The argumentatio marshals four arguments: what is the true character of the intruders? (11:1-21a); what is the servant of Christ like? (11:21b-12:10); who is whose benefactor? (12:11-19); what sort of man do they expect with Paul’s upcoming visit? (12:20-13:4). Chapter 5 discusses the intertexture and rhetorolect of 2 Cor 10-13. The discourse is thickly intertextured providing the vivid picture and the persuasive rationale for his arguments, and is woven of various rhetorolects. The main rhetorolect is prophetic, which focuses on Paul whom God has chosen to take leadership in the production of righteousness. By blending this rhetorolect with priestly, our text manifests that Paul, in weakness and sufferings, according to God’s call, is following the example of Christ.Chapter 6 explores the social, cultural and ideological textures in 2 Cor 10-13. In social texture, the discourse has a vision of acquiring cognitive abilities for the aim of transforming people so they may build a Christian community in faith until God transforms all. In cultural texture, the discourse utilizes the conventions of dominant culture, but rejects its central values and creates an antithetical set of values based on the crucified Christ. In ideological texture, the discourse presents the social ethos that opposes the dominant social order: it represents rather the interests of the socially weak. The Pauline discourse, however, legitimises his position of primary authority over the Corinthian Christians. Chapter 7 investigates the sacred texture in 2 Cor 10-13. The discourse establishes a theology which is balanced by the crucified and resurrected Christ. Christ’s crucifixion and resurrection is recapitulated in Paul’s apostleship, discipleship and servant-ship in the form of imitatio Christi, and must be reproduced in the Corinthian church in the form of imitatio Pauli. In the final assessment, the main purpose of 2 Cor 10-13 is defined as the edification of the Corinthian church through defending Paul’s apostolic lifestyle, which is characterized by the imitatio Christi. Paul’s lifestyle is derived from Christ who was crucified and resurrected by the power of God, demonstrating God’s power manifested in human weakness. Now it is the Corinthians’ turn to demonstrate the divine power manifested in their imitatio Pauli.<br>AFRIKAANSE OPSOMMING: Daar word algemeen aanvaar dat daar probleme is met die lees van 2 Kor. 10-13. Hierdie verhandeling probeer om deur middel van sosiaal-retoriese analise die teks te ontleed en die ware oogmerk daarvan te ondersoek. Die hipotese waarvan uitgegaan word, is dat die Pauliniese diskoers ingestel is op die geestelike opheffing van die Korintiërs deur sy verdediging van die apostoliese lewenstyl en deur vir hulle ’n goeie voorbeeld van imitatio Christi, imitatio Pauli te stel (Hoofstuk 1). Hoofstuk 2 bestudeer onlangse ondersoeke na 2 Kor. 10-13 vanuit verskillende benaderingshoeke, naamlik die literêrhistoriese benadering, die historiese benadering, die retoriese benadering, en etiese en sosiaalwetenskaplike benaderings. Die beperkte resultate wat die afsonderlike gebruik van elke benadering sou oplewer, vereis dat ’n multidimensionele en multidissiplinêre metode gebruik moet word. Hoofstuk 3 rekonfigureer die sosiaal-retoriese benadering wat deur Robbins ontwikkel is, tot ’n viervoudige dimensionele ontleding vir ’n vollediger lees van 2 Kor. 10-13: ’n retoriese analise; ’n analise van intertekstualiteit en reterolek; ’n analise van sosiale, kulturele en ideologiese intertekstualiteit; en ’n analise van gewyde tekstualiteit. Hoofstuk 4 ontleed die retoriek in 2 Kor. 10-13. Die vier realiteite van die retoriese situasie is die inval van die buitestanders teen Paulus, die ontevredenheid van lede van die binnekring jeens Paulus, die konflik met betrekking tot Paulus se ondersteuning, en die plan met betrekking tot Paulus se voorgenome besoek. Die retoriese skikking, as ’n beraadslagende betoog, maar met inbegrip van forensiese en epideiktiese elemente, word soos volg opgesom: exordium en propositio (10:1-11); narratio (10:12-18); argumentatio (11:1-13:4); peroratio (13:5-10). Die argumentatio behels leiding vir vier argumente: wat is die ware karakter van die indringers? (11:1-21a); waaraan ken ’n mens die dienaar van Christus uit? (11:21b-12:10; wie is wie se weldoener? (12:11-19); watter soort man verwag hulle met Paulus se voorgenome besoek? (12:20-13:4). Hoofstuk 5 bied ’n bespreking van die intertekstualiteit en reterolek van 2 Kor. 10-13. Die diskoers is ryklik voorsien van intertekste en verskaf so ’n duidelike prentjie en die grondrede vir sy argumente, wat uit verskeie reterolekte ineengeweef is. Die belangrikste reterolek isprofeties, en fokus op Paulus wat deur God uitgekies is om leierskap te aanvaar vir die voortbrenging van regverdigheid. Deur hierdie reterolek met die priesterlike te vermeng, gee ons teks blyke daarvan dat Paulus, in swakheid en lyding, volgens God se roeping, die voorbeeld van Christus volg. Hoofstuk 6 ondersoek die sosiale, kulturele en ideologiese tekstualiteit in 2 Kor. 10-13. In sosiale tekstualiteit het die diskoers ’n visie van die verkryging van die kognitiewe vermoëns wat nodig is vir die oogmerk van hervorming van mense sodat hulle ’n Christen-gemeenskap in die geloof kan bou totdat God almal nuut sal maak. In kulturele tekstualiteit gebruik die diskoers die konvensies van die dominante kultuur, maar verwerp die sentrale waardes daarvan en skep ’n stel antitetiese waardes gebaseer op die gekruisigde Christus. In ideologiese tekstualiteit bied die diskoers die sosiale ethos wat teen die dominante maatskaplike orde in verset is: dit verteenwoordig eerder die belange van dié wat maatskaplik swak is. Die Pauliniese diskoers legitimeer egter sy posisie as primêre gesag oor die Christene in Korinte. In hoofstuk 7 word die gewyde tekstualiteit van 2 Kor. 10-13 ondersoek. Die diskoers bring ’n teologie tot stand wat in ewewig is met die gekruisigde en opgestane Christus. Christus se kruisiging en opstanding word weergegee in Paulus se apostelskap, dissipelskap en dienaarskap in die vorm van imitatio Christi, en moet ook weergegee word in die kerk in Korinte in die vorm van imitatio Pauli. Ten slotte word die hoofdoel van 2 Kor 10-13 gedefinieer as die geestelike opheffing van die kerk in Korinte deur die verdediging van Paulus se apostoliese lewenstyl wat deur die imitatio Christi gekenmerk word. Paulus se lewenstyl is van Christus oorgeneem, wat gekruisig en weer opgewek is deur die krag van God, wat God se mag wat in menslike swakheid na vore kom, demonstreer. Nou is dit die Korintiërs se beurt om bewys te lewer van die goddelike krag deur hulle imitatio Pauli.

Since F.S. Boas coined the term in 1896, All's Well That Ends Well, Troilus and Cressida, and Measure For Measure have been generally accepted as "problem plays," and many critics have offered biographical, thematic, and formal explanations of why these plays are so "dark." In this thesis, I accept that these plays are "problems" and I propose a rhetorical explanation for dissatisfaction with them, especially with their endings. Drawing on Kenneth Burke's philosophy of literary form and his anthropology of man as the symbol-using animal, I show that in these plays Shakespeare frustrates the expectations of an audience for a definite ending through death or marriage which would define the "terms" characterized in each play; secondly, he provides no scapegoat whose victimage would allow the audience to recognize an order clearly proposed for its acceptance; finally, he supplies no symbol of order which credibly demonstrates its power to establish a renewed society. As rhetoric, these plays show an intense "dancing of attitudes" toward symbols of order and toward conventional forms which would provide a clear sense of an ending. As such, they show what Burke calls "self-interference" on the part of the playwright — a deliberate balancing of arguments for the sake of "quizzicality" toward language as symbolic action. According to this analysis, the problem plays remain problems for an audience which seeks identification with symbols of order; they are, however, a tribute to the agile mind of a master rhetorician.<br>Arts, Faculty of<br>English, Department of<br>Graduate

John Milton's Christian Doctrine reveals a number of doctrinal opinions clearly in disagreement with the orthodox Christianity of his day. His four major heresies, his monism itself, his theory of creation ex Deo, his anti-Trinitarianism, and his mortalism, form a logical system, developed in accordance with his monistic conception of the cosmos.Milton's monism denies the Platonic dualism between matter and spirit. He presents a world which is a continuum in which that which is usually called material is merely further removed from God than that which is normally called spiritual. This monism serves as the basis of his concepts of the universe, God, and humanity.Since Milton sees God as the total of reality, the things of this world cannot have their source in anything outside God. They cannot be created either from a preexistent prime matter or from nothing. His monism requires that they somehow be created ex Deo, from God's own substance.Milton's monism denies the possibility of the traditional concept of the Trinity. The Son is neither coeternal, co-essential, nor co-equal with the Father. The Holy Spirit is even less important, subordinate to both Father and Son. Since Christ must also be a unity, Milton presents a unique concept of the Incarnation, in which two total persons are mysteriously combined into one new person.His monism requires that the human being also be a unity. Two heresies result: (1) Traducianism, in which the soul is generated by the parents just as is the body; (2) Thnetopsychic mortalism, in which the entire human being dies together and then is resurrected to either reward or punishment.Through a study of monism, Milton's reader can find a key to the phenomenon of John Milton. He uniquely combines his monism with a staunch Biblical literalism, presenting himself as a Christian, but a Christian with a difference-a Christian who will allow no outside authority of any kind to define his faith. As a part of Milton's general application of a monistic cosmos to all his thought, the monistic continuity of the Miltonic heresy can clearly be discovered.

This Master's Thesis analyses the work of Charles Cotin an abbot and a poet who, between 1630 and 1665, successfully proved himself in the Literary Salons of France. This thesis will try to determine how his work illustrates well the Gallant esthetics and how his poetical choices reflect but also challenge the great tendencies of the Gallant literature. The analysis of Cotin's Work divides itself into three facets: Lampoons, Religious texts and Gallant poetry. The Gallant esthetics is shown differently as Cotin progressively extricates hermeneutic rules and then try to adapt Theology to the King's entourage. Cotin's work will also be able to show the links between a Gallant literature and the social background of this time.

The works of Sir Thomas Browne are often described in terms of the contradictions and paradoxes which seem to exist both within his work as a whole and also within the individual essays themselves. The primary focus of this thesis is the relationship between seemingly opposed forms of discourse and systems of thought in the Religio Medici, Hydriotaphia and The Garden of Cyrus. The emergence of analytic discourse in the seventeenth century is presented through the study of changing concepts of religious, political and epistemological mediation. Browne's 'mediate' position within the conflicts of his era is seen as representing a desire to unite apparent opposites and arrive at a 'complete' way of thinking which combines the medieval and the modern. The unified vision he advocates is of interest in both modern science and literary theory, where the premise of objectivity fundamental to analytic thinking is now being questioned.

This study retraces the steps of the 17th century architect and engineer Salomon de Caus through his written and built works, in an attempt to understand the relationship between what he made and the model by which his world was comprehended. The central questions examined with regard to his works are: what correspondence do they reveal between language as a means of conveying knowledge, the world as the source of knowledge, and God the divine creator; and whether "meaning" resides within or without this relation. The interpretation of De Caus' works reveals an epistemological model of a world balancing on the threshold of the modern era of scientific discovery and technological progress. His texts and constructions appear as a means of conveying knowledge with the aim of making the Divine appear as mystery in the human world. De Caus is known to operate two principal layers of meaning in his works. One "mathematical" which addresses the intrinsic meaning of the order of the cosmos and the Divine; the other "narrative", "melodie" or "ornamental", addressing the mediation of situational meaning through matter. Human experience and action was a third factor in the process of mediation. Through the intense experience of the moment of performance, whether architectural, theatrical or musical, man could embody the immaterial knowledge of God. The human artefact was a "poetic instrument" guiding man through life. Today, when living in a world where the dominating paradigm reduces understanding to symbolic logic and God has long since been declared dead, De Caus' poetic model remains highly significant.

This Master's thesis is comprised of two sections. The first one, entitled "Pontus de Tyard et les voies musicales", analyses the representation of music in two of sixteenth century French writer's " Dialogues philosophiques". Indeed, in his work, music is personified by a woman, Pasithee. Through an examination of three different aspects of the relationship between music and writing, we will attempt to grasp the mysterious link between the "Solitaire" and his muse, incarnation of music and of poetic inspiration.<br>The second section, "Fugue a trois voix silencieuses ", a tale in which three female characters express their "voices", as defined by the rules of harmony established by Johann Sebastian Bach, is a literary transposition of the fugue form. The fugue is a musical form in which the contrapuntal structure includes several voices that blend with and reply to each other. Similarly to a canon, the parts seem to chase within a repeated motif. The literary transposition of the fugue form was fascinating to us. Our story follows the literary tradition which draws its strength from the encounter of music and writing.

This dissertation provides a critical, systematic survey of economics in literary theory and practice. Since Aristotle, economic categories have been used as interpretive grounds on which to conceptualize the literary text and distinguish it as a moral or normative sphere. Because economic categories presuppose different norms of individual and social action, the use of a specific category as an interpretive ground generates a particular outlook or moral perspective.<br>In the first part of the discussion, we critique theories in which the literary text is conceptualized as an economy. After distinguishing three distinct models of the "textual economy," we evaluate them in terms of their logical consistency and normative presuppositions. Selecting the model that is the most logically consistent and normatively valuable, we study two early modern works to see if this model operates as an intentional device implicated in a work's form and content. The works chosen are William Shakespeare's Sonnets and William Bradford's history "Of Plimoth Plantation," both of which display a facination with economic discourse.<br>The second part of the discussion takes up the question of economics in the theory and practice of putting texts in context. We distinguish four different models of contextualization that depend on economic categories. Explicitly or implicitly, contemporary research agendas and critical positions depend on these categories to situate a literary text in a specific setting. An economic category like exchange, for example, is frequently privileged as a common ground, a shared quality or characteristic used to integrate a text with a context. After critiquing models of contextualization, we synthesize the best they have to offer into a new framework. We then use this framework to situate the texts by Shakespeare and Bradford into the historical settings of their production and reception. The result is a picture of the text in context that is vital, a moving picture, quite unlike the customary still life of artifact and background.