Academic literature on the topic '1572-1631 Criticism and interpretation'

This study argues that there is an essential unity to John Donne's poems and sermons. Chapter One is a survey of Donne criticism: Ilona Bell suggests Donne "seeks communion, but is continually prepared to recognize disjunction." It is argued that Bell's notion is validated in both genres where Donne renders concrete a movement of thought or emotion through figurative language. Chapter Two examines how the sermons move between the literal sense of scripture, and its multiform spiritual significance. Chapter Three examines the writerly tradition of the Church Fathers in relation to some of Donne's poetry. Augustine read the bible as a unified entity, The Word, and yet understood it through manifold meanings. Donne writes of the union of lovers' souls, yet weaves in the theme of inconstancy and separation. In sum, this study discusses how Donne's creation of figurative meaning produces both his literary intensity, and some parallels of spiritual discovery in his poems and sermons.

This thesis explores John Donne's vision of the Apocalypse as revealed by his religious poetry and prose. Donne believed himself to be alive in the last age of the world; however, he rejected historicist interpretations of the Apocalypse. Instead, he located the conflict with sin and death within the individual soul. Donne was concerned to create an image of the sinful soul restored to unity with the divine through its own exertions and by God's grace, free from social and political constraints. The Apocalypse presented Donne with a paradigm of unity which he appropriated in order to represent the interconnexion of God and humankind, as well as to situate himself within a present unfolding of ultimate conformity. Knowledge of the role of the Apocalypse in Donne's self-presentation, provides an awareness of the extent to which Donne understood himself to be an active participant in the fulfilment of the Providential design.

This study examines two important influences that shape John Donne's "Holy Sonnets": The Ignatian meditative tradition and the devotional tradition of the psalm genre. It argues that their confluence in his sonnets gives rise to unique rhetorical structures and strategies that reflect the doctrinal uncertainties of his age.

Criticism on Donne???s Holy Sonnets has traditionally been concerned with trying to find an explanation for the doubt, anxiety, and despair that is often expressed by the speaker of those poems. In recent decades, critics have increasingly made recourse to Calvinist theology in an effort to explain these melancholy states of mind. The accounts that such critics provide of ???Calvinism,??? however, have been varied and largely inadequate, mainly because they fail to engage with Calvin???s work at the level it requires. My thesis seeks to correct such deficiencies by providing a detailed reading of Calvin???s view on salvation and the way in which it is received. Calvin argues that we obtain salvation through a firm and certain faith, a faith that is nevertheless attacked by the unbelief that still resides in the believer. In other words, there is a division between the flesh and the spirit within the soul of the believer, which means that he or she is never free (until death) from the sinful temptations of this life. This division, which Calvin invokes to reconcile the uncertainties of the Christian life with the assurance of faith, is dramatised in the Holy Sonnets. In the five poems that I analyse, the speaker is torn between a desire for righteousness and an inclination toward evil, a division that is also represented in the structural qualities of the text. The various temptations which the speaker registers and confronts (and often falls to) are, I believe, a demonstration of Calvin???s view that the regenerate person is in continuous warfare against the remnants of the flesh.

Orientador: Luiz Carlos Cagliari
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta Tese apresenta um estudo da ortografia de Os Lusíadas, de Luís Vaz de Camões, em sua primeira edição (1572). O principal objetivo é revelar a situação da ortografia portuguesa no século XVI. Este estudo, portanto, representa uma importante contribuição para um melhor entendimento da história da ortografia portuguesa bem como para a história da própria língua. A obra-prima de Camões é um dos trabalhos mais importantes na história da literatura portuguesa e tem um valor histórico relevante porque foi vista como um modelo, não somente pelos seus propósitos literários, mas também pela sua ortografia. O clássico camoniano influenciou de maneira muito significativa os rumos da ortografia da Língua Portuguesa, uma vez que representou uma clara divisão entre a antiga ortografia e os novos sistemas introduzidos pelos estudiosos do século XVI. Para cumprir o objetivo da Tese é apresentada, em resumo, a situação da ortografia antes e imediatamente após a publicação da obra de Camões, com a finalidade de estabelecer qual era o sistema ou a tradiçao no uso da língua escrita. Para tanto, os dois primeiros gramáticos portugueses, Fernão de Oliveira e João de Barros, são referências importantes para mostrar a pronúncia e a descrição dos segmentos fonéticos que eles associavam às letras. Por outro lado, os ortógrafos, Pero Magalhães de Gândavo, Duarte Nunes de Leão e Álvaro Ferreira de Vera, apontavam o melhor modo para escrever a língua, de acordo com a interpretação deles, indicando como a ortografia deveria ser. Em seus trabalhos há também descrição da pronúncia e de como as letras deveriam ser usadas para representar os segmentos fonéticos. Os trabalhos desses estudiosos foram usados aqui com o propósito de extrair as informaçoes necessárias para entender como a língua era pronunciada e como deveria ser escrita no tempo de Camões. As gramáticas apareceram antes da publicação d'Os Lusíadas e os trabalhos dos ortógrafos depois. Neste estudo, os elementos gráficos das palavras foram analisados e interpretados de acordo com uma metodologia especial que foi utilizada pela autora quando escreveu uma dissertação de mestrado sobre a ortografia da famosa Carta de Pero Vaz de Caminha sobre o descobrimento do Brasil. Finalmente, a presente Tese pretende contribuir para o estudo do sistema escrito e para o melhor entendimento dos fenômenos lingüísticos relacionados à língua oral e escrita.
Abstract: This thesis presents an orthographic study of Luiz Vaz de Camões' Os Lusíadas in its first edition (1572). The main objective is to reveal the situation of the Portuguese spelling at that time in the XVI century. This study, therefore, represents an important contribution to a better understanding of the history of the Portuguese orthography as well as to the history of the language. Camões' masterpiece is one of the most important works in the history of Portuguese literature. Given its importance since its first edition, Os Lusíadas has been seen as a model not only for literary purpose, but also for spelling, since it represented a clear cut between the old spelling and the new systems introduced by the first grammarians and orthographists in the XVI century. To accomplish the goals of the thesis, it is presented in short the situation of the spelling just before and immediately after the publication of Camões' book, in order to set up what was the system or the tradition in use to write down the language. To do so, the two first grammars of the language, one by Fernão de Oliveira and the other by João de Barros are important references to show the pronunciation and the description of the phonetic segments they associated to the letters. On the other hand, the orthographists pointed out the best way to write the language in their interpretation, indicating how the spelling should be. In their works we have also phonetic descriptions of the pronunciation and the description on how the letters were used to represents phonetic segments. The works by Pero de Magalhães de Gândavo, Duarte Nunes de Leão e Álvaro Ferreira de Vera were used for the purpose of extracting the necessary information to understand how the language were pronounced and should be written at Camões' time. The grammars appeared before the publication of Os Lusíadas and the orthographists' works appeared after it. The graphic elements of the words were analysed and interpreted according to a special methodology that was used by the author of this work when she wrote a MA Dissertation about the spelling of the famous letter by Pero Vaz de Caminha, about the discovery of Brazil. Finally, the present thesis intents to contribute to the study of the history of Portuguese language, to language teaching, to the study of writing systems and to a better understanding of linguistic phenomena relating oral and written language.
Doutorado
Linguistica
Doutor em Linguística

John Donne was indisputably the foremost English preacher of his day. Many studies have focussed on his instructional methods; fewer have concentrated on how he tries to move his hearers. Donne especially liked preaching on the psalms. Since Christian antiquity, the seven psalms known as the penitential psalms have enjoyed a privileged place in church worship. They are central to the sacrament of penance. By Donne's time, changes in the Church of England's sacramental theology had all but eliminated the practice of penance. Nevertheless, Donne considers penance or, as it had become known, repentance, to be a crucial part of believers' lives. With his sermons on the penitential psalms Donne contributes to the vast body of literature surrounding the sacrament of penance, but his contribution is unique. He thinks that since the second person of the Trinity is identified with the Word of God, the institution of preaching God's Word is incarnational. In the sacraments, the priest ushers in the Body of Christ; in the sermon, Donne believes, the preacher's role is similar. For Donne, sermonizing is sacramental in effect. In his sermons he attempts to bring the real presence of God to his listeners. Moreover, his sermons display a "sacramental mimesis": they enact their subject matter by their very words and try to effect change in the listeners as the words are uttered. Further, Donne thinks that since God established all the ordinances of the church, none of them should be ignored. Therefore, Donne's twenty-one sermons on the penitential psalms reveal a preacher who is on the one hand a conservative churchman and on the other a startlingly innovative preacher.

稿本
論文(碩士)--香港中文大學硏究院中國語言文學學部,1992.
參考文獻: leaves 278-296
巢立仁.
緒言 --- p.18
Chapter 第一章 --- 陳獨漉先生傳略 --- p.976
Chapter (甲) --- 導言
Chapter (乙) --- 幼承庭訓，習聞忠節。
Chapter (I) --- 師長之訓誨
Chapter (II) --- 父師之死節
Chapter (III) --- 丈人之恩德
Chapter (IV) --- 小結
Chapter (丙) --- 行游四方，力求興復。
Chapter (I) --- 出游時期
Chapter (II) --- 出游目的
Chapter (III) --- 初赴東南
Chapter (IV) --- 徘徊兩粤
Chapter (V) --- 漫游中洲
Chapter (VI) --- 小結
Chapter (丁) --- 晚˘Ưđ逢厄，抱節終身。
Chapter (戊) --- 結語
Chapter 第二章 --- 陳獨漉七律之句法 --- p.77-122
Chapter (甲) --- 引言
Chapter (乙) --- 「句法」釋義
Chapter (丙) --- 陳獨漉七律句法之論述角度
Chapter (丁) --- 陳獨漉七律之六種句法
Chapter (I) --- 評述句
Chapter (II) --- 因果句
Chapter (III) --- 呼應句
Chapter (IV) --- 遞進句
Chapter (v) --- 並列句
Chapter (VI) --- 轉折句
Chapter (戊) --- 結語
Chapter 第三章 --- 陳獨漉七律之内容 --- p.123-197
Chapter (甲) --- 導言
Chapter (乙) --- 悲家國
Chapter (丙) --- 傷身世
Chapter (丁) --- 敘離情
Chapter (戊) --- 寫友義
Chapter (己) --- 剌世情
Chapter (庚) --- 痛徂逝
Chapter (辛) --- 紀遊覽
Chapter (壬) --- 賀壽志喜
Chapter (癸) --- 結語
Chapter 第四章 --- 陳獨漉七律之語言技巧 --- p.198-247
Chapter (甲) --- 導言
Chapter (乙) --- 對偶精切
Chapter (I) --- 小引
Chapter (II) --- 虛實對
Chapter (III) --- 動靜對
Chapter (IV) --- 鉅細對
Chapter (V) --- 遠近對
Chapter (VI) --- 流水對
Chapter (VII) --- 小結
Chapter (丙) --- 善用故實
Chapter (I) --- 小引
Chapter (II) --- 議論寓意
Chapter (III) --- 引伸變化
Chapter (IV) --- 辭麗旨深
Chapter (v) --- 小結
Chapter (丁) --- 筆法曲折
Chapter (I) --- 小引
Chapter (II) --- 側筆虛寫
Chapter (III) --- 藏鋒不露
Chapter (IV) --- 正言若反
Chapter (V) --- 小結
Chapter (戊) --- 結語
Chapter 第五章 --- 陳獨漉七律之整體風格 --- p.248-273
Chapter (甲) --- 導言
Chapter (乙) --- 精煉渾成
Chapter (丙) --- 清迥絶俗
Chapter (丁) --- 結語
結語 --- p.274-277
參考書目 --- p.278-296

This dissertation considers the development of an ethics stemming from the Augustinian revival of early modern England, and the subsequent effect of this ethics on the literary culture of the period. The Preface claims that religious and textual communities operate according to a “cultural mobility” that eludes conventional neo-historicist approaches to literary culture, and Paul Ricoeur’s aphorism, “the symbol gives rise to thought,” serves as a model for thinking through this mobility. Augustinian ethics is a cultural phenomenon in the period, because people are thinking about Augustine, giving new life to his works through their own expressions of thought. After exploring the ways in which the Augustinian revival was brought about during the early modern period in the Introduction, one such expression of thought, John Donne’s relationship with early modern print culture, is examined in Chapter One. Following the theoretical outline of Augustine’s Christianization of Ciceronian rhetoric in his De Doctrina Christiana, it is suggested that though Donne’s aversion to the print publication of his poetry may have begun as a result of his “gentlemanly disdain” of the press, it ultimately found its sustenance in the form of an Augustinian ethic. Chapter Two examines the possibility of a metaphorical acquisition of Augustinian hermeneutics in the metadrama of A Midsummer Night’s Dream. This hermeneutics ultimately calls into question the epistemological framework of Theseus’s skeptical aesthetics, suggesting that a more inclusive aesthetics based on charity can elevate the stage to its proper dignity. The last chapter turns from the communal implications of Augustinian ethics to its subjective implications by examining Augustine’s inner light theology and the role it plays in John Milton’s late poetry. Instead of falling in line with criticism that sees the simultaneous publication of Paradise Regained and Samson Agonistes as a dialectical meditation on the virtues of pacifism and the evils of religious violence, this reading suggests that the late poetry asserts the ethical rights of those who attend to the inner light, whether they be peaceful or violent.
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