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1
Spates, William H. "Imagining corrupt consumption : the genesis and evolution of the pox metaphor in sixteenth-century England (1494-1606)." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14657.
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This thesis attempts to examine the birth and development of the pox metaphor in sixteenth-century English literature. In researching this literary history of a disease---of syphilis' life as an early modem metaphor---I have attempted to contextualize the pox metaphor's development within the social and economic constructs that led to the early modern conflation of excessive consumption with poxy corruption. This conflation freed the metaphor from the confines of discussion on disease and allowed early modern authors the freedom to apply pockifed tropes to describe various social ills and abuses. Initially these pox metaphors were restricted to sexualized subject matter such as inconstant women, but through the rise of satire, the metaphor became a means of describing London as rampant, diseased and corrupt. Finally, Shakespeare was able to take the pox and apply it to the economic sickness that was affecting England by inscribing appetites with consuming pox-inspired qualities that were, in effect, a commentary on the uncontrolled rise of the capitalist state and the dangers of desire.
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Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.
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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.Department of English
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Moon, Jang-Hwan. "Paul's discourse for the Corinthians' edification :a socio-rhetorical interpretation of 2 Corinthians 10-13." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16066.
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Thesis (D. Th.)--University of Stellenbosch, 2004.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.
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.
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Rowan, Stephen Charles. "A dancing of attitudes : Burke’s rhetoric on Shakespeare." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25965.
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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.Arts, Faculty of
English, Department of
Graduate
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Padgett, Jeffrey Lynn. "The monistic continuity of the Miltonic heresy." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/514853.
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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.
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Roy, Roxanne. "L'oeuvre de Charles Cotin, ou, Pour une esthétique de la galanterie." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20462.
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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.
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Lynch, Marianne. "That great and true Amphibium : mediation and unity in the works of Sir Thomas Browne." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59618.
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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.
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Grillner, Katja. "Automata, perspective and music : poetic instruments in the written garden of Salomon de Caus." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23200.
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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.
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Rocheville, Sarah Dominique. "Pontus de Tyard et les voies musicales, suivi de, Fugue à trois voix silencieuses." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21258.
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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.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.
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LiBrizzi, Marcus. "Interpretive ground and moral perspective : economics, literary theory, early modern texts." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42080.
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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.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.
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.
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Wagler, Brent M. "Stars, stones and architecture : an episode in John Dee's natural philosophy." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22550.
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The work of John Dee (1527-1608) posits an approach to architecture based upon the concept of wonder. Sympathetic correspondences permeate Dee's disparate practical activities and architectural discourse. His contributions to astronomy, alchemy, cartography and navigation are grounded in the intersubjective cosmology of the Renaissance. It is in Dee's Mathematicall Praeface (1570), which promotes mathematics as a natural philosophy, that the architect's metier is aligned with the marvellous and established as an art encompassing numerous disciplines. Dee's syncretic formulation of architecture is distinctly attuned to the alchemical and magical discourses pervading the Renaissance and established in relation to his hieroglyphic "Monas" symbol. This emblematic device, discussed in the Monas Hieroglyphica (1564), exemplifies the link between architecture and writing. The Monas symbol permits the architect-as-alchemist to contemplate marvels and effect them in practice. In addition to positioning wonder in human activity, as a navigational beacon guiding the work of the architect, Dee signals the possibility of restoring conjuring-the dangerous and denigrated art of sixteenth century England--into architectural practice.
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Meyer, Esias Engelbertus. "The Jubilee in Leviticus 25 : a theological ethical interpretation from a South African perspective." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16064.
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Thesis (D. Th.)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: The Jubilee year in Leviticus 25 has received a fair amount of attention towards the end of the previous millennium with the movements such as the Jubilee 2000, which campaigned for the remissions of debt in the so-called Third World. The text thus has a very liberating image and this is where the problem lies, because a critical reading of the text creates a far more oppressive picture. The question then becomes how the biblical critic is to respond, especially when she/he is sympathetic towards the objectives of the Jubilee 2000 movement. In this study it is argued that there is only one way to respond and that is to play the critical role that biblical scholars have always attempted to play. This means that it would be ethically irresponsible for biblical critics to shy away from exposing the oppressive sides of a biblical text. An ideological-critical approach is then proposed which attempts to construct the world-view or ideology that could be glimpsed from the text. This kind of reading is suspicious of what the biblical text claims and it further attempts to identify political and other interests in the text. An ideological critical reading also takes stock of the “ideological holdings” of the interpreter. In this regard the author argues that the history of Apartheid and specifically the way in which the Bible was used to legitimate Apartheid is one of his main ideological holdings that predisposes him to read in a certain manner. Leviticus 25 is then subjected to very close synchronic scrutiny. Firstly the most salient grammatical features of the text are identified and secondly it is asked how these features were used in order to persuade. This second reading is thus a kind of rhetorical reading that specifically focuses on ways in which the relationship between the addressees, the land, YHWH and other groups in the text is portrayed. This enables the author to describe the world-view or ideology of the authors and addressees of Leviticus 25. These same interests are also identified in some of the chapters surrounding chapter 25. Eventually this leads to dating the composition of this text in the Second Temple Period and it specifically identifies the interests of this text with those of the returning Elite. This interpretation presents the text as rather oppressive and instead of preventing poverty it actually reinstated poverty, which means that some dark sides of the text are exposed. The study is then concluded with some theological-ethical observations where it is reiterated that one of the tasks of the biblical critic is to give some voice to people that were voiceless in the biblical text. The study also shows that despite these dark sides to the text, there still is liberating potential in the Jubilee.
AFRIKAANSE OPSOMMING: Die Jubeljaar in Levitikus 25 het veral aandag getrek aan die einde van die vorige millennium toe bewegings soos die “Jubilee 2000” beweging hulle beywer het vir die afskrywe van skuld in die sogenaamde Derde Wêreld. Die teks het dus ‘n “bevrydende beeld” en dit is juis waar die probleem lê, want ‘n kritiese lees van die teks skep ‘n baie meer verdrukkende prentjie. Die vraag is nou hoe die bybelwetenskaplike moet reageer, veral indien sy/hy die doelwitte van die Jubilee 2000 beweging ondersteun. Daar word dan in hierdie studie geargumenteer dat daar eintlik maar net een manier is waarop ‘n mens sou kon reageer en dit is deur die kritiese rol te speel wat bybelwetenskaplikes nog altyd nagestreef het. Dit beteken dat dit eties onverantwoordelik sou wees om weg te skram van die verdrukkende kante van ‘n bybelse teks. ‘n Ideologiekritiese benadering word dan voorgestel wat poog om die wêreldbeeld of ideologie te konstrueer wat ‘n mens in die teks sou kon bespeur. Hierdie soort lesing staan redelik agterdogtig teenoor wat die teks beweer en poog dan om politieke en ander belange in die teks te identifiseer. So ‘n ideologie-kritiese lees poog ook om die “ideologiese erfenis” van die interpreteerder te verwoord. In hierdie opsig argumenteer die outeur dat die geskiedenis van Apartheid en veral die manier waarop die Bybel gebruik is om dit te legitimeer een van sy ideologiese erfenisse is wat aanleiding daartoe gee dat hy op ‘n bepaalde manier lees. Levitikus 25 word dan onder ‘n deeglike sinkroniese loep geneem. Eerstens word die mees uitstaande grammatikale kenmerke van die teks geïdentifiseer en tweedens word gevra hoe hierdie kenmerke gebruik sou kon word om te oortuig. Hierdie tweede lesing is ‘n soort retoriese lesing wat spesifiek fokus op hoe die verhouding tussen die aangespreektes, die land, YHWH en ander groepe in die teks uitgebeeld word. Dit stel die outeur in staat om die wêreldbeeld of ideologie van die skrywers en aangespreektes te omskryf. Hierdie selfde belange word dan ook in die omringende teks van hoofstuk 25 geïdentifiseer. Uiteindelik word die komposisie van hierdie teks in die Tweede Tempeltydperk gedateer en word die belange in die teks verbind met die belange van die terugkerende hoërklas. Hierdie interpretasie stel dan die teks as redelik verdrukkend voor en in plaas daarvan dat dit armoed teengewerk het, het dit armoede teweeggebring wat natuurlik beteken dat donker kante van die teks blootgelê word. Die studie sluit dan af met ‘n paar teologieseetiese waarnemings waar dit weereens beklemtoon word dat een van die take van die bybelwetenskaplike juis is om ‘n stem te gee aan die mense wat in die antieke teks stemloos was. Die studie wys ook uit dat daar ten spyte van hierdie moontlike donker kante van die teks daar tog nog bevrydende potensiaal in die Jubeljaar is.
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Travis, Keira. "Infinite gesture : an approach to Shakespearean character." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102740.
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In this dissertation I develop and theorize an approach to Shakespearean character. I focus on the ways in which characters talk about knowing others and being known; in other words, this is an approach to characters who are themselves approaching characters. The plays I treat in detail are Coriolanus and Hamlet. The words characters in these plays use when they explain their decisions, avoid explaining their decisions, talk about others' decisions, or try to expose others' secrets, are often position-and-movement words. I argue that characters use for these purposes words related by wordplay to the postures and gestures involved in crucial rituals (the "custom of request" in Coriolanus, the fencing match in Hamlet). At the same time, this is a metacritical project: I deal with approaches and attitudes of Shakespeare interpreters. How do we stand in relation to each other? How do editors and critics echo and transform the characters' postural/gestural language, and what are the implications of these echoes and transformations? Why is it worthwhile to work toward awareness of these echoes and transformations? In an extensive introductory section I theorize the kind of reading practiced here as an ethical practice-a practice intended to modify what Michel Foucault calls the rapport a soi.The project's main original contribution is its way of re-conceiving the relationships among several currents in Shakespeare studies. My discussion engages with recent work in textual studies. Examples include work by Leah Marcus and Paul Werstine. It also engages with historically informed treatments of wordplay. Examples include work by Margreta de Grazia and Patricia Parker. And it addresses work that could be said to be part of a move in the field toward "ethical criticism." Examples include work by Stanley Cavell and John Guillory. As well, my discussion engages with psychoanalytic criticism by Marjorie Garber, Coppelia Kahn, and others. While I do not consider myself a psychoanalytic critic, the affinity my approach has with psychoanalysis has to do with my interest in making explicit some of the implications of unreflectively chosen metaphors, word associations, etc. The implications that concern me most are those that have to do with the ways interpreters relate to each other.
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Wright, Daniel L. "Shakespeare as Anglican apologist : sacramental rhetoric and iconography in the Lancastrian tetralogy." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720328.
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The sacramental rhetoric and iconography of the Lancastrian Tetralogy significantly contribute to our recognition that the theological center of Shakespeare's historical drama is distinctively Anglican. Shakespeare (whether he personally was an Anglican churchman) invokes in the Lancaster plays the symbols and speech definitive of the Protestant Reformation in order to illustrate dramatically the Crown's convictions of the transcendent purpose of the English nation in human history, especially as that purpose had been defined by Tudor historiography. Shakespeare's histories demonstrate a conviction, broadly conceived and illustrated, of faith in the providential destiny of a nation whose very birth and sustenance in adversity form a sign of its election to grace and divine favor.Furthermore, Shakespeare's Lancaster plays, by continuing the didactic tradition of the medieval stage, embrace the precepts of Tudor monarchy and apply those principles of government and Reformation theology to the Elizabethan stage. Shakespeare's histories therefore interpret history; they do not recollect it--except in the spirit of sixteenth-century imagination, harmonized with legend and myth. Consequently, the Lancaster cycle of histories constitutes a unified dramatic quartet in which history as fact is eschewed in favor of history as progressive revelatory sign, a vision enabled by mythography derived from the emblems and rhetoric of the sixteenth-century Anglican Christian tradition.Department of English
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Fagan, Dianne. ""The dark house and the detested wife" : sex, marriage and the dissolution of comedy in Shakespeare's problem plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37204.pdf.
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Slights, Jessica. "The moral architecture of the household in Shakespeare's comedies /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35946.
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Critics have long neglected Shakespearean comedy's examination of the household's role in the formulation of community values by reading its references to domestic life allegorically as commentary on the ostensibly more important public realms of marketplace and state. This dissertation argues that representations of the household in the comedies are best understood as theatrical explorations of ethical inquiry as it pertains to everyday lived experience. Using contemporary sermons, political tracts, and conduct books to situate Shakespeare's plays within a larger cultural movement that was coming to understand the household as a foundation of the moral economy of early modern England, this study provides readings of The Comedy of Errors, The Merry Wives of Windsor, and The Tempest that emphasize each play's investigation of the household as a potential locus of the good life. The characters in these plays develop an awareness of themselves as members of broader communities by negotiating the particular details of household existence---by sharing meals, exchanging gifts, and falling in love. This awareness is in turn presented as a necessary component of personal happiness and a fundamental constituent of a just and merciful state. By developing an account of household life in the plays, this dissertation argues that recognizing the importance of affective domestic relations to constructions of the self as socially embedded moral agent is crucial to understanding the comedies' nuanced analysis of gender, class, and race relations.
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Earnshaw, Felicity. "Shakespeare and freedom of conscience." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0028/NQ50152.pdf.
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Kehler, Torsten. "The necessity of affections : Shakespeare and the politics of the passions." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38210.
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This dissertation---"The Necessity of Affections: Shakespeare and the Politics of the Passions"---is a contribution to an important and interesting aspect of early modern thought. It examines the role of the passions or emotions in Shakespearean tragedy and in early modern politics. Shakespeare can be seen to share a perspective on tragedy and political thought with a number of other writers, some of whom were his contemporaries, and some of whom---like Thucydides and Tacitus---were classical writers. What these figures, here called 'politic historians,' have in common is an interest in using the passions as an explanatory category to reveal the states of mind of tyrants, princes and also other agents, including manipulative Machiavellians. Shakespeare's use of this politics of the passions is shown to be more acute and insightful than the rival treatments given by Stoicism, Hobbes and Machiavelli, in terms of explaining motives, agency and action. It is also argued that an understanding of the passions tells us something about tragedy, necessity and chance: namely, the need for realism about the dangers posed by those who seek to fashion or shape our minds. However, this dissertation proposes that this political realism does not go so far as to become the cynicism of realpolitik. A discussion of a number of important passages and themes in the tragedies---in particular, Hamlet, Macbeth and Coriolanus---shows how the notion of a rich and vividly articulated self plays a significant role in Shakespearean tragedy.
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Minard, Scott David. "Francis Bacon and composition." CSUSB ScholarWorks, 1987. https://scholarworks.lib.csusb.edu/etd-project/396.
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Roberts, D. "Physical conclusions? : an exploration of [dis]continuities in Thomas Vaughan's [al]chemical tracts." Thesis, University of Wales Trinity Saint David, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683187.
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Suárez, Juan Luis. "El escenario de la imaginación : Calderón en su teatro." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ64674.pdf.
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Walzer, Hanaaʾ A. "Entre narcisismo y agresividad : la construcción del Musulmán en el drama calderoniano." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84207.
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Although Calderon formulates an eloquent refutation of racialist discourse against Muslims, my thesis concentrates on the issue that his play-writing reinforces the Cristocentric ideology on the need for conversion. In order to determine some of his influences and inspirations, I have reviewed the literature dealing with the Muslim subject in Spain from approximately the eleventh to the seventeenth centuries. Drawing on postcolonial hermeneutics and social psychology, I explored the way in which the image of the Muslim is constructed, wavering between an aggressive representation meant to promote rejection, and a narcisistic reflection fostering the appropriation through conversion. Both postures presuppose a distinction upon religious levels which has remained constant throughout the literature studied in this thesis.By analysing some plays by Lope de Vega and Cervantes it became obvious that the fast reflects, with some exceptions, the dominant prejudices of his audience by presenting stereotyped characters of Muslim descent. Cervantes, on the other hand, provides a polyphony of voices which makes his plays peculiarly ambiguous for the inattentive reader. These, although exceptional in their humane view of the world, consistently maintained Muslims and Christians distinct and separate, albeit within relatively expansive categories.
Calderon uses a lopesque model of the bobo and conserves Cervantes' Weltanschauung. Nevertheless, his main aim can be directly traced to the counter-expulsion polemics of sixteenth- and seventeenth-century intellectuals, who attempted to find a solid foundation on which to base Christian indoctrination. Utilizing a typologic and providential version of history, Calderon attempts to convince his Christian public that they should improve themselves spiritually in order to convert Muslims, who in turn should pursue proselitist activities in their respective countries. The Muslims predisposed to conversion are therefore presented as clearly differentiated from the ones who aren't, associating the first with courtly ideals and the others with diabolic manifestations. A necessary element for successful conversion of people of distinct cultures is the elimination of the myth of "purity of blood," which Calderon defeats categorically. All in all, his insistence upon the absolute necessity of a sincere application of Christian doctrine anticipates the disaster which those who conceived the conversion program could not avoid.
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Heard, Rachel E. "Shakespeare, gender and the rhetoric of excuse." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14747.
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This thesis attempts to provide an historicised account of excuse-making strategies in sixteenth- and seventeenth-century literature. This issue is considered, broadly, in the light of the pervasive influence of rhetoric in early modem culture at large, and specifically, as an aspect of the rhetorical construction of moral ambiguity in Shakespearean drama. Its chief concern is with the intractable ambiguity of 'favourable interpretations' or 'charitable constructions' of actions or events, the apparent desirability of which seems beyond doubt. Chapter I uses the 'generosity' often regarded as Shakespeare's own trademark as a way into exploring the aims of the thesis. Its central section focuses more closely on the ambiguity inherent in a 'female rhetoric' of mitigation, apology and extenuation. Where these chapters concentrate on 'covert' excuse-making strategies. Chapter V, by contrast, begins with an exploration of the early modern transformation (or domestication) of classical, female orators into decent, modest, seventeenth-century women. The thesis concludes with an account of Shakespeare's suppliant women, a group of petitioners who are repeatedly represented 'between men'. The persistence of this pattern, I argue, stresses the extent to which excuse-making is gendered, and might be read, as well, as the playwright's own attempt to 'contain' the radical moral ambiguity (radical because as difficult to condone as to condemn) generated by such 'female' excuse-making.
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Maraun, Timothy Fritz. "Tension in 18th century Chinese painting." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.
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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century.
In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou.
These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry
and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Bayer, Mark 1973. "Changing of the guards : theories of sovereignty in Shakespeare's Richard II." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27927.
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Shakespeare's history plays are not merely benign representations of various historical figures and events but the site of political, cultural, and ideological contestation at the time of their performance. Richard II documents two divergent theoretical approaches to sovereignty which are more applicable to the political climate in Shakespeare's time than Richard's. In this essay, I read this play through the lens of various political tracts and historical tendencies dominant in late Elizabethan England. Though such an analysis might best be understood as historical materialist in orientation, I offer a contextual analysis of various modes of early modern political thought drawing variously upon theoretical precepts associated with new historicism as well as the 'ideas in context' school associated with Quentin Skinner, among others.Such an analysis reveals a shift in the mode of theoretical discourse. Richard's divine-right/monarchical approach to sovereignty based in an overarching ecclesiastical power base gives way to Bolingbroke's pragmatic and consensus driven politics. This shift mirrors the movement in late 16$ rm sp{th}$ and early 17$ rm sp{th}$ century England from traditional religious arguments offered by Richard Hooker, John Whitgift, and residually by James I to a more secular political discourse inaugurated by Machiavelli and his English adherents and symptomatic of the reign of Elizabeth herself. Roughly speaking this modulation follows the pattern of paradigm shifts in the physical sciences exposed by Thomas Kuhn's influential Structure of Scientific Revolutions (1962). The emergent theory, while marking a rapid and overwhelming reorientation of the terms and initial presuppositions of political discourse, draws in many crucial respects on the accrued tenets of the outgoing paradigm. The play therefore acts as a retroactive representation of a political reformation which occurred much later than the events depicted in the play.
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McGrade, Bernard J. "Grabbe und Shakespeare." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66190.
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Adair, Vance. "The Shakespearean object : psychoanalysis, subjectivity and the gaze." Thesis, University of Stirling, 2000. http://hdl.handle.net/1893/1857.
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Through a close analysis of four plays by Shakespeare, this thesis argues that the question of subjectivity ultimately comes to be negotiated around a structural impasse or certain points of opacity in each of the text's signifying practices. Challenging assumptions about the utatively "theatrical" contexts of Richard III, Richard II, Hamlet and Antony and Cleopatra, I argue that, to varying degrees, the specular economy of each play is in fact traversed by a radical alterity that constitutively gives rise to a notion of subjectivity commonly referred to as "Shakespearean". Elaborating upon the work of both Jacques Lacan and Jacques Derrida, I argue that "subjectivity" in the plays is, rather, the articulated confrontation with a non-dialectizable remainder that haunts each text from within. Crucially in this respect I relate each of the texts to Lacan's account of the "gaze" as a species of what he calls the object a: an alien kernel of jouissance exceeding all subjective mediation yet, paradoxically, also that which confers internal consistency both to subjectivity and to the very process of symbolization as such. I am, moreover, also concerned to read the work of Jacques Derrida as providing an illuminating context for how this incursion of alterity that he terms differance (what Lacan calls the Real) may be read as the unacknowledged support of subjectivity. The thesis concludes with a consideration of how this analysis of the Shakespearean object, rather than succumbing to the heady pleasures of an unfettered textuality, opens, ineluctably, onto a rethinking of the very category of the "political" itself.
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Farley, Stuart. "Copious voices in early modern English writing." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11904.
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This thesis takes as its object of study a certain strand of Early Modern English writing characterised by its cornucopian invention, immethodical structure, and creatively exuberant, often chaotic, means of expression. It takes as its point of departure the Erasmian theory of ‘copia' (rhetorical abundance), expanding upon it freely in order to formulate new and independent notions of copious vernacular writing as it is practised in 16th- and 17th-century contexts. Throughout I argue for the continuity and pervasiveness of the pursuit of linguistic plenitude, in contrast to a prevailing belief that the outpouring of 'words' and 'things' started to dissipate in the transition from one century (16th) to the next (17th). The writers to be discussed are Thomas Nashe, Robert Burton, John Taylor the ‘Water-Poet', and Sir Thomas Urquhart. Each of the genres in which these writers operate–prose-poetry, the essay, the pamphlet, and the universal language–emerge either toward the end of the 16th century or during the course of the 17th century, and so can be said to take copious writing in new and experimental directions not fully accounted for in the current scholarship. My contribution to the literature lies principally in its focus on the emergence of these literary forms in an Early Modern English context, with an emphasis on the role played by copiousness of expression in their stylistic development and how they in turn develop the practice of copia.
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Espericueta, José Gabriel. "Un Camino Puraficativo: Negación Sanjuanina y Desengaño en El Pastor de Nochebuena de Juan de Palafox y Mendoza." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1051140872.
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Walsh, Kaitlin Marie. "Figures of authority : Cervantes' critique of storytelling in selected works." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669757.
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Harikae, Ryoko. "John Bellenden's Chronicles of Scotland : translation and circulation." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:d0ebf41c-8263-45e0-a6d5-5826bf8e0396.
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John Bellenden's Chronicles of Scotland (1531-r. 1537) is a humanist Scots translation of Hector Boece's Scotorum Historia (1527). As the first full-scale printed national history in the vernacular, the Chronicles assumed a pivotal role in sixteenth-century Scottish literary culture. Despite its contemporary importance,however, relatively little critical attention has been paid to Bellenden's work itself, primarily due to the misconception that it is a neutral translation of the Scotorum Historia. However, as Bellenden successively revised his text in several stages with stylistical, ideological and material alterations, the Chronicles needs to be evaluated as an individual literary work. The
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Gwala, Mzonzima. "The reception of Genesis 1-3 in Nguni culture." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/16056.
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Thesis (DLitt)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: This dissertation looks at the reception of Gen. 1-3, one of the most controversial parts in the Hebrew Bible. How was it interpreted by the Nguni speaking communities (e.g. Xhosa, Zulu, siSwazi and siNdebele) taking into consideration their background, culture and religious belief system? The reception approach is followed in the research because of its emphasis on the role of the reader in understanding texts. Sources that are utilized are Nguni Bible translations, selected preached sermons (which the researcher attended himself), Nguni stories and folk tales and reviews undertaken among selected Nguni groups. A close-reading of the texts under discussion is undertaken in order to determine the basic content and issues of interpretation involved. The central concepts of cosmogony as contained in Gen. 1-2 are studied, as well as the story of the Garden of Eden and the concept of the “fall” in Gen. 3. The map of the Nguni language group is described and the culture and belief system of the Nguni speaking communities. Central concepts to this belief system are the worship of ancestors, marriage, circumcision, and among the Swazis the incwala (annual national feast) Legends and folk tales were used as sources for the Nguni belief system. It was determined that the Nguni speaking people worshipped one God in their traditional way, but always through their ancestors as a sign of respect. The role of the missionaries is analyzed by describing the history of the various missionary societies and their influence on the Nguni peoples. A very short discussion is devoted to preached sermons by Nguni pastors in the Seventh-day Adventist Church.Bible translations have always played a very important role among Nguni speakers (both Christians and non-believers). The need for translations using understandable contemporary terms is emphasized. This is the challenge to the Bible societies and Bible translators. Qualitative reviews were undertaken under selected Nguni speaking groups (Xhosa, Zulu, siSwati and siNdebele). Some of the results obtained from these reviews (full transcripts are included) are: (1) that there is a common understanding of the origin of the universe between the Hebrew Bible and the Nguni religious culture. (2) Serpent (Gen. 3): among the Zulus this concept is understood in terms of sexuality, but it can also be linked with the ancestors. (3) Both communities (Hebrew Bible and the Nguni) were tainted with the concept and ideology of patriarchalism. The crucial question in the research was: “what happens when a cosmogonic myth is transferred from one community to another?” In the case of Gen. 1-3 an ancient Hebrew text was transmitted to African cultures via missionaries and Bible translations. Nguni people react differently. Whereas some accept Gen. 1-3 (cosmogonies and the “fall”) as a detailed explanation of how creation and the “fall” came about, others reject it.
AFRIKAANSE OPSOMMING: Hierdie proefskrif kyk na die resepsie van Gen. 1-3, een van die mees kontroversiële dele in die Hebreeuse Bybel. Hoe word dit geïnterpreteer deur die Ngunisprekende gemeenskappe (Xhosas, Zoeloes, Swazi’s en Ndebele-groepe), met inagneming van hulle agtergrond, kultuur en stelsel van godsdienstige oortuigings? Die resepsiebenadering word in hierdie navorsing gevolg weens die klem op die rol van die leser in hoe tekste verstaan word. Die bronne wat aangewend is, is Ngunibybelvertalings, geselekteerde preke (wat die navorser self bygewoon het), Ngunistories en -volksverhale, en onderhoude wat met geselekteerde Ngunigroepe gevoer is. 'n In-dieptestudie van die betrokke tekste is onderneem ten einde die basiese inhoud en interpretasiekwessies te bepaal. Die sentrale konsep van kosmogonie, soos vervat in Gen. 1- 2, is bestudeer, asook die storie oor die Tuin van Eden en die konsep van die “sondeval” in Gen. 3. Die kaart van die Ngunitaalgroep word beskryf, asook die kultuur en geloofstelsel van die Ngunisprekende gemeenskappe. Sleutelkonsepte in hierdie geloofstelsel is die aanbidding van voorvaders, die huwelik, besnydenis, en onder die Swazi’s, die incwala (jaarlikse nasionale fees). Legendes en volksverhale is gebruik as bronne vir die Ngunigeloofstelsel. Daar is vasgestel dat die Ngunisprekende mense altyd een God aanbid het op hulle tradisionele manier, maar altyd deur voorvaders as 'n teken van respek. Die rol van die sendelinge word ontleed deur die geskiedenis van die verskeie sendinggenootskappe te beskryf, asook hulle invloed op die Ngunimense. 'n Baie kort bespreking word gewy aan preke gelewer deur Ngunipastore in die Sewendedaagse Adventistekerk.Bybelvertalings het nog altyd 'n baie belangrike rol gespeel onder Ngunisprekers (beide Christene en nie-gelowiges). Die behoefte vir vertalings wat verstaanbare, kontemporêre terme gebruik, word beklemtoon. Dít is die uitdaging wat aan die bybelgenootskappe en bybelvertalers gestel word. Kwalitatiewe onderhoude is afgelê onder geselekteerde Ngunisprekende groepe (Xhosas, Zoeloes, Swazi’s en Ndebele-groepe). Resultate wat verkry is van hierdie evaluerings (waarvan volledige transkripsies voorsien word) sluit in: (1) dat daar 'n gemeenskaplike begrip is van die oorsprong van die heelal by die Hebreeuse Bybel en die Ngunigeloofskultuur; (2) dat die konsep van die slang (Gen. 3) onder die Zoeloes in terme van seksualiteit verstaan word, maar dat dit ook met die voorvaders in verband gebring kan word; en (3) dat beide gemeenskappe (Hebreeuse Bybel en die Nguni) tekens dra van die konsep en ideologie van patriargisme. Die kernvraag in die navorsing was: “Wat gebeur wanneer ’n kosmogoniese mite oorgedra word van een gemeenskap na 'n ander?”. In die geval van Gen. 1-3 is 'n ou Hebreeuse teks oorgedra na Afrikakulture via sendelinge en bybelvertalings. Ngunimense reageer verskillend. Waar sommige Gen. 1-3 aanvaar (kosmogonieë en die “sondeval”) as 'n gedetailleerde verduideliking van hoe die skepping en die “sondeval” plaasgevind het, word dit deur ander verwerp.
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Wood, Gareth. "Javier Marías's debt to translation : Sterne, Browne, Nabokov." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670143.
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Javier Marías has explained many times that working as a translator of literary works from English into Spanish helped shape him as a writer. This study explores those claims by analysing two things: firstly, his translations themselves; and secondly, seeing how those translations have left discernible traces in his own fiction.
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Manrique, Gómez Marta 1974. "Recepción político-literaria de Calderón : de la querella calderoniana a Menéndez Pelayo y sus discípulos." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115630.
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This thesis examines the political and literary reception in Spain of the figure of Pedro Calderon de la Barca, Golden Age playwright, during the years comprising the start of the querella calderoniana until the end of the nineteenth century; a period dominated by the intellectual figure Marcelino Menendez Pelayo. The nineteenth century is characterized by widespread social, political, economic, religious and cultural change, as much as for the development of the intention, on the part of political ideologies in positions of power, to generate a concrete idea of the Nation; in short, a specific way of interpreting Spanish national identify. This changes and the process which followed the configuration of this idea of the nation are recorded in little studied and highly politicized print media of the time, as well as in various verbal polemics maintained over the course of the century.The study of these has allowed me to demonstrate that the reception of Calderon has been strongly influenced by the presence and interaction of these aspects. As the century progresses, the figure of the playwright becomes increasingly identified with the ideals of the National identify established by political conservatives.
In the first chapter, I analyse what happened in this intellectual conflict contextualizing it ideologically in the calderonian polemics of the eighteenth century, and frame it within relevant events in the formation of national identity.
The next two chapters analyse the development of the querella calderoniana and the subsequent appropriation of Calderon, in one of the darkest moments for the written press in Spain, corresponding with Fernando VII's absolutist regime. This study has been achieved through close readings of various periodicals, literary and ideological discourses of this epoch.
The final chapter concentrates on the conservative appropriation of Calderon effectuated by Menendez Pelayo, one of the most important intellectual figures of nineteenth century in Spain, who attempted to integrate this appropriation with others preceding it. A brief section of conclusions summarizes the theses, followed by a selected bibliography.
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Abouzia, Roya. "Van Dyck at the court of Charles I : thoughts on court life and the portraits of the Garter Sovereign." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55409.
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Anthony van Dyck's contemporary vision of sovereignty and knighthood made him the principal image-maker in England during the 1630s. His portraits of Charles I exemplified the Arcadian realm and philosophies held at court, as well as complying with the artistic and historical traditions of English painting. As a celebration of Monarchy by Divine Right, Van Dyck's portrayals of the Sovereign summarize the philosophical concepts of knighthood expressed in the Platonic Love theory and the Order of the Garter. Charles I was Defensor Fides, Pater Patriae, the suitor to his lady, and the courtly gentleman--all roles of the knight. Beyond his stylistic influence, Van Dyck's foremost contribution was the endowment of maiestas to the royal image, followed by divine apotheosis for posterity. A better understanding of Van Dyck's Charles as the Garter Sovereign leads us to modify our perception of the artist, since he became the painter of contemporary British history.
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McElfresh, Darlene S. "Machiavellianism and Motherhood: Shakespeare's Inversion of Traditional Cultural Roles." Xavier University / OhioLINK, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1352478936.
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Brillant, Louis. "Johann Bernhard Fischer von Erlach and political rhetoric under Karl VI (1712-1722)." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22461.
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The late imperial architecture of Johann Bernhard Fischer von Erlach presents works (Entwurf einer historischen Architektur, Karlskirche and Hofbibliothek; 1712-1722) in which the intentions manifested are expressions of the political programs of the emperor Karl VI. In this imperial rhetoric, the accent is placed on the confirmation, through time, of the authority. Allegory appears as confirmation, through time, of the authority. Allegory appears as a proper means to convey the public manifestations of this propaganda. Whether at an urban scale, with Karlskirche, or at a more private, smaller scale, as in the Entwurf, Fischer is shown to master the integration of these programs, while maintaining a genuine interest in architectural tradition's history. In fact, the articulation of these two domains will lead to the production of a highly original architecture, which still fascinates today. Three aspects will be especially developed: the initiation of Karlskirche; the imperial promenade through the Hofbibliothek; and the fifth book of the Entwurf, on monumental vases and urns. Through these, it is the importance of constructed-ness, as seen in Fischer's praxis of history, that will emerge.
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Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
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Silva, Eduardo Rosa da. "Um estudo sobre algumas edições do Tratado da gravura de Abraham Bosse." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21275.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The objective of this research is to verify, among the traditions related to the treaties and manuals, the pathway of a French treatrise on tecniques of engraving, until Portuguese translation. It will be investigated the relevance of this work translated into Portuguese with the title Tratado da Gravura à Água-Forte e a Buril e em Maneira Negra com o modo de construir as Prensas Modernas e de Imprimir em Talho-Doce (Treatise of Engraving, Etching, and Mezzotint with the way of building the Modern Presses and Printing Copper Plates), by Priest José Joaquim Viegas Menezes and published in 1801 in the Arco do Cego’s Typography, Lisbon. The hypothesis that the Portuguese version is based on De la Manière de Graver à L'eau Forte et au Burin, a treatise on French engraving amplified by Charles Nicolas Cochin and edited in the year 1758, guided this study. This research involved a comparison of Abraham Bosse's original treatise of 1645 with the three subsequent French editions, 1701, 1745, 1758, and the edition produced in Portugal in 1801. The changes and updates in relation to the content and the images were analyzed, verifying that the Portuguese edition of 1801 presents few changes in relation to the French text of 1758
O objetivo desta pesquisa é verificar dentre as tradições relacionadas aos tratados e manuais, o percurso de uma publicação francesa sobre as práticas artesanais da gravura em metal, até sua tradução realizada. Será investigada a relevância dessa obra traduzida para o português com o título, Tratado da Gravura à Água-Forte e a Buril e em Maneira Negra com o modo de construir as Prensas Modernas e de Imprimir em Talho-Doce, pelo Padre José Joaquim Viegas Menezes e publicada em 1801 na Tipografia do Arco do Cego. A hipótese de que a versão portuguesa, se baseia no De la Manière de Graver à L'eau Forte et au Burin, tratado da gravura francês ampliado por Charles Nicolas Cochin e editado no ano de 1758, guiou este estudo. O caminho desta pesquisa envolveu a comparação do tratado original de Abraham Bosse de 1645, com as três edições francesas subsequentes, 1701, 1745, 1758 e a edição produzida em Portugal em 1801. Foram analisadas as mudanças e atualizações em relação ao conteúdo e às imagens, verificando-se que a edição portuguesa de 1801 apresenta poucas alterações em relação ao texto francês de 1758
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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
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Jenson, DeAnna Faye. "Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2536.
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In order to contribute to the body of work on Bolingbroke and on Shakespeare's development of character, this thesis examines various rhetorical and stylistic methods used by Shakespeare in his creation of the character of Henry Bolingbroke.
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Di, Ponio Amanda Nina. "The Elizabethan Theatre of cruelty and its double." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/836.
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This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.
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Giammarco, Thais Maria. "Dido, rainha de Cartago : uma proposta de tradução para a obra de Christopher Marlowe." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269971.
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Orientador: Fabio Akcelrud DurãoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudo da Linguagem
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Resumo: Frente à escassez de traduções da obra de Christopher Marlowe para o português, este trabalho tem o objetivo de apresentar uma proposta de tradução da peça Dido, Queen of Carthage, do dramaturgo elisabetano. O primeiro capítulo traz uma breve análise da obra, comparando-a com os dois principais textos que serviram como base para sua composição, a saber, a Eneida, de Virgílio, e As Heróides, de Ovídio, e, à luz do conceito latino de imitatio, defende a originalidade do texto, em detrimento de um caráter tradutório que lhe atribuem alguns críticos, ratificando, dessa maneira, a validade da empresa a que se propõe este trabalho. No segundo capítulo, faz-se uma distinção entre os sistemas poéticos do português e do inglês, bem como uma exposição das dificuldades de tradução que um texto deste tipo acarreta, seguida de uma apresentação das estratégias empregadas na resolução de tais dificuldades, ilustradas por exemplos extraídos da tradução. O terceiro capítulo compõe-se do texto traduzido, interpolado com o original e acrescido de notas de rodapé
Abstract: Due to the lack of works by Christopher Marlowe translated into Portuguese, this paper aims at presenting a translation proposal to the Elizabethan playwright's Dido, Queen of Carthage. Its first chapter brings a brief analysis of the play, comparing it to two of the principal texts that served as bases for its composition, namely, Virgil's epic Aeneis, and Ovid's Heroides, and, based on the latin concept of imitatio, supports the originality of the text, in opposition to a translation work status attributed to it by some critics, thus confirming the validity of this translation. In the second chapter, there is a distinction between the poetic systems of Portuguese and English, as well as an exposition of the difficulties involved in the translation process of a text such as this one, followed by a presentation of the strategies used to solve these difficulties, illustrated by parts of the translation. The third chapter is composed by the translated text into Portuguese, intertwined with the original text in English, furnished with footnotes
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Beek, Pieta van 1958. "Anna Maria van Schurman (1607-1678) en haar kennis van oud-oosterse talen." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/49748.
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Thesis (MA)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: We know very little about women who studied and excelled in the field of Semitic languages in the seventeenth century - it is an unknown territory, terra incognita. In this thesis I will map Anna Maria van Schurman's (1607-1678) studies in Semitic languages. Of the fourteen languages she knew, seven were Semitic or Near-Eastern languages: Hebrew (Rabbinic Hebrew included), Aramaic, Syriac, Samaritan, Arabic, Persian or Ethiopian. The thesis commences with a brief discussion of her life (including some new material), followed by an overview of the knowledge about Semitic languages that prevailed in the seventeenth century, which at the time underwent a surge of growth. Thereafter the discussion will focus on Van Schurman's mentor, Voetius, and his knowledge and views of Semitic languages. It will be based on the Sermoen (lecture) delivered at the opening of the University of Utrecht in 1636. His library, which Van Schurman used, also appears to be an invaluable source, full of reference books for the study of 'orientaelsche' languages. In order to determine the standard of Van Schurman's work, it was useful to read first what her contemporaries wrote about her, as well as what she wrote in her various works, including her autobiographies, about Semitic languages. Adfontes did I research what has been preserved in these seven languages: letters in Hebrew, a poem, many references - in particular in Hebrew, Aramaic, Syriac and Arabic - in her works such as the Dissertatio, the Opuscula Hebraea Graeca Latina et Gallica, unpublished letters and the texts she wrote in alba amicorum and on polyglottal artworks in Hebrew, Rabbinic Hebrew, Syriac, Aramaic, Arabic, Samaritan and Ethiopian. Her letters in Hebrew (and some letters to her) have only now been translated for the first time. From these it seems that she had, in contrast to her work in Latin, Greek, Dutch and French, such a religious regard for Hebrew that she wrote these letters as a collage of Biblical texts. It was, however, also an intellectual game. Van Schurman designed a grammar for Ethiopian, an outstanding achievement in the erudite Netherlands. Although it is thought to be lost, it is nevertheless possible to ascertain, by means of reports and poems by her contemporaries, what constituted this grammar. Lastly, Van Schurman's oeuvre is compared to that of the men and women of the educated community in Europe (Res Publica Litterarum ) who were also involved in the study of 'orientaelsche' languages. She was a source of inspiration for several women, such as Marie du Moulin, who also studied Hebrew and corresponded with Van Schurman in Hebrew. Anna Maria Van Schurman can rightfully be called the only female christian hebraist who could hold her own in the company of her male counterparts, despite the fact that, as a woman, she did not have the same opportunities as they had. She even exceeds them in her knowledge of Ethiopian. With regard to other women, she undoubtedly stood head and shoulders above them, and deserves to be known as the "Babel of her time".
AFRIKAANSE OPSOMMING: Ons weet byna niks van wat vroue in die sewentiende eeu op die gebied van die Oud- Oosterse tale gepresteer het nie, dis 'n onbekende terrein, 'n terra incognita. In hierdie tesis word Anna Maria van Schurman (1607-1678) se studies in Oud-Oosterse tale gekarteer. Van die veertien tale wat sy geken het, was sewe Oud-Oosterse tale: Hebreeus (Rabbyns-Hebreeus ingesluit), Aramees, Siries, Samaritaans, Arabies, Persies en Ethiopies. Ek bespreek eers kortliks haar lewe (met heelwat nuwe materiaal), gee dan 'n oorsig van die 17de-eeuse kennis van hierdie tale wat toe 'n groot bloeitydperk beleef het. Dan bespreek ek haar leermeester Voetius se kennis van Oud-Oosterse tale. Dit word gedoen aan die hand van die Sermoen wat hy by die opening van die Utrechtse Universiteit in 1636 gehou het. Sy biblioteek wat sy ook ter insae gehad het, blyk 'n skatkamer van naslaanwerke vir die studie van 'orientaelsche' tale te wees. Om die standaard van Van Schurman te bepaal, het ek eers gekyk na wat tydgenote oor haar geskrywe het en wat sy self in haar werk, onder andere in haar outobiografie, oor Oud-Oosterse tale geskryf het. Ad fontes het ek ondersoek wat daar van haar in die sewe tale oorgelewer is: briewe in Hebreeus, 'n gedig, die verwysings in veral Hebreeus, Aramees, Siries en Arabies in haar werke soos die Dissertatio, die Opuscula Hebraea Graeca Latina et Gallica, ongepubliseerde briewe, en die tekste wat sy in alba amicorum en op polyglotte kunswerkies geskrywe het in Hebreeus, Rabbyns- Hebreeus, Siries, Aramees, Arabies, Samaritaans en Ethiopies. Haar briewe in Hebreeus (en sommige aan haar) is nou vir die eerste keer vertaal. Uit die briewe blyk dat sy, in teenstelling tot haar werk in Latyn, Grieks, Nederlands en Frans, so 'n heilige ontsag vir Hebreeus gehad het dat sy die briewe geskrywe het as 'n collage van Bybeltekste. Maar dit was ook 'n intellektuele speletjie. Van Schurman ontwerp 'n grammatika vir Ethiopies, 'n topprestasie in geleerde Nederland. Hoewel dit nou verlore is, kan mens tog aan die hand van verslae en gedigte van tydgenote 'n beeld kry van wat haar grammatika behels het. Ten slotte vergelyk ek haar met die manne en vroue in die Europese akademiese gemeenskap, die Republiek van Lettere, wat ook in die veld van 'orientaelsche' tale besig was. Vir 'n aantal vroue soos Marie du Moulin was Van Schurman 'n bron van inspirasie. Sy het ook Hebreeus bestudeer en met Van Schurman gekorrespondeer in Hebreeus. Van Schurman kan met reg die enigste vroulike Christelike Hebraïs genoemd word wat met manlike geleerdes op gelyke voet kon verkeer, al het sy deur haar posisie as vrou nie dieselfde geleenthede gehad nie. Tog steek sy met haar kennis van Ethiopies hulle na die kroon. Wat betref die vroue: sy het kop en skouers bo haar vroulike tydgenote uitgestaan en word met reg die Babel van haar tyd genoem.
NEDERLANDSE OPSOMMING: We weten vrijwel niets wat vrouwen in de zeventiende eeuw op het gebied van oudoosterse talen presteerden, het is een onbekend land, een terra incognita. In deze thesis breng ik de studies in oud-oosterse of semitische talen van Anna Maria van Schurman (1607-1678) in kaart. Van de veertien talen die ze kende, waren er zeven oud-oosters of 'orientaelsch": Hebreeuws (Rabbijns-Hebreeuws ingesloten), Aramees, Syrisch, Samaritaans, Arabisch, Perzisch en Ethiopisch. Ik bespreek eerst kort haar leven (op grond van veel nieuw materiaal), geef dan een overzicht van de kennis van oud-oosterse talen in de zeventiende eeuw die toen een grote bloei doormaakte. Dan bespreek ik de kennis van en de visie op oud-oosterse talen van haar leermeester Voetius aan de hand van het Sermoen dat hij hield bij de opening van de Utrechtse Universiteit in 1636. Zijn bibliotheek die zij ook gebruikte bleek een schatkamer aan standaardwerken voor de studie van 'orientaelsche ' talen. Om het niveau van Van Schurman te bepalen, inventariseerde ik eerst wat tijdgenoten over haar schreven en wat ze zelf in haar werk, onder andere in haar autobiografie, over oud-oosterse talen schreef Ad fontes onderzocht ik naar wat er van haar in die zeven talen is overgeleverd: Hebreeuwse brieven en een gedicht, de vele verwijzingen in vooral het Hebreeuws, Aramees, Syrisch, Arabisch in haar werken als de Dissertatio, de Opuscula Hebraea Graeca Latina et Gallica, en ongepubliceerde brieven plus de teksten die ze in alba amicorum en op haar polyglotte kunstwerkjes schreef in het Hebreeuws, Rabbijns-Hebreeuws, Syrisch, Aramees, Arabisch, Samaritaans en Ethiopisch. Haar brieven in het Hebreeuws van (en sommige aan haar) zijn nu voor het eerst vertaald. Uit die brieven blijkt dat ze, in tegenstelling tot haar werk in het Latijn, Grieks, Nederlands en Frans, zo'n heilige opvatting heeft van het Hebreeuws dat ze die brieven schrijft als een collage van bijbelteksten. Maar het was ook een intellectueel spel. Ze ontwierp een grammatica voor het Ethiopisch, een topprestatie in geleerd Nederland. Ook al is deze nu onvindbaar, toch was het mogelijk om aan de hand van verslagen en gedichten van tijdgenoten een beeld te krijgen van wat haar grammatica behelsde. Tenslotte vergeleek ik haar met de mannen en vrouwen in de Europese geleerdengemeenschap, de Republiek der Letteren die ook in het veld van de orientaelsche' talen bezig waren. Voor een aantal vrouwen zoals Marie du Moulin was Van Schurman een inspiratiebron. Zij ging ook Hebreeuws studeren en correspondeerde met Van Schurman in het Hebreeuws. Van Schurman kan met recht de enige christelijke hebraïste in Europa genoemd worden die met de mannelijke geleerden op gelijke voet verkeerde, al had ze door haar positie als vrouw niet dezelfde mogelijkheden. Toch stak ze hen door haar kennis van het Ethiopisch naar de kroon. Wat betreft de vrouwen: ze stak er met kop en schouders boven uit, ze werd terecht het Babel van haar tijd genoemd.
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Harvie, Ronald. "Passion and patronage : Van Dyck, Buckingham and Charles I." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68100.
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The 1632 appointment of Van Dyck as Court Painter by King Charles I changed the course of art in England. But in spite of its importance, the dynamics and mechanics of this event remain imperfectly understood. This paper suggests that one determining factor was the influence of George Villiers, Duke of Buckingham. An early admirer of Van Dyck, Buckingham in turn incarnated the young artist's own aspirations to aristocratic status. For Charles, the Duke was a personal partner and aesthetic alter-ego whose presence in the King's psyche remained strong long after Buckingham's assassination in 1628. The examination of certain of Van Dyck's paintings of the 1620's shows how the interlocking agendas and affinities of the three men combined to affect the evolution of English art.
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Zhong, Xinzi. "A reconstruction of Zhū Xī's religious philosophy inspired by Leibniz: the natural theology of heaven." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/112.
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This dissertation is aimed to set up a Confucian-style religious philosophy on the basis of Zhū Xī’s ideas. It seeks to articulate and highlight what has existed previously in some form in Zhū Xī’s Confucianism in a language which appears to be more precise for modern readers. Leibniz’s interpretations of Chinese philosophy and culture, as well as many resources in his own philosophy and Christian theology, serve to promote the realization of this aim. Zhū Xī’s religious philosophy in our reconstruction is a philosophy containing a theology of Heaven at its core, and this theology is certainly not a revealed one. These following issues are covered: 1) a theology of deities, 2) a metaphysics of the supreme being (Heaven), 3) an appropriate treatment of the ontology of lǐ2 and qì in relation to Heaven, and 4) a suitable interpretation of transcendence and immanence within human beings. The dissertation has three major parts. The first part is to argue that the worship of Heaven is special and superior to any reverence contained in the “polytheism” (which is finally philosophized by Zhū Xī as the reverence towards manifold pneuma) revealed in the Confucian sacrificial system. At the same time, it explores how the faith in various spirits or deities can be consistent with a belief in Heaven. The second part shows that it is fundamental to see Zhū Xī’s Heaven as a substance, so that one is able to attribute to it qualities and properties, even before there is any decision about whether or not to regard Heaven as a person. Among Heaven’s qualities, we choose its work (gōng) and virtuousness (dé) as its most prominent features to expound. In the light of Heaven’s virtuousness, a theodicy of Heaven is constructed. The third part is devoted to a discussion of the nature of human beings as well as of our fellows in the natural world, especially in relation to Heaven. Zhū Xī offers two perspectives for understanding humanness: one by studying the nature of xīn (“heart-mind”), and the other, the composite nature of hún-pò (or guǐ-shén, “souls”). We choose to plunge into the latter perspective, something comparable with Leibniz’s theories of soul. In the concluding chapter major features or facets of this reconstruction of Zhū Xī’s religious philosophy and its relevance to modern times are stated in a concise and relatively bold way.
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劉永琦. "題材與思想 :"三言" 中的明代話本研究 = A research on subject matter and thought of huaben fictions of Ming dynasty in San yan." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690590.
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Espericueta, José Gabriel. "Un camino purificativo negación sanjuanina y desengaño en El pastor de nochebuena de Juan de Palafox y Mendoza /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1051140872.
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McConomy, Erin Elizabeth. "Renaissance humanism in Michelangelo's Sistine Chapel and Milton's Paradise Lost." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37223.pdf.
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Criswell, Christopher C. "Networks of Social Debt in Early Modern Literature and Culture." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799514/.
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This thesis argues that social debt profoundly transformed the environment in which literature was produced and experienced in the early modern period. In each chapter, I examine the various ways in which social debt affected Renaissance writers and the literature they produced. While considering the cultural changes regarding patronage, love, friendship, and debt, I will analyze the poetry and drama of Ben Jonson, Lady Mary Wroth, William Shakespeare, and Thomas Middleton. Each of these writers experiences social debt in a unique and revealing way. Ben Jonson's participation in networks of social debt via poetry allowed him to secure both a livelihood and a place in the Jacobean court through exchanges of poetry and patronage. The issue of social debt pervades both Wroth's life and her writing. Love and debt are intertwined in the actions of her father, the death of her husband, and the themes of her sonnets and pastoral tragicomedy. In Shakespeare’s The Merchant of Venice (c. 1596), Antonio and Bassanio’s friendship is tested by a burdensome interpersonal debt, which can only be alleviated by an outsider. This indicated the transition from honor-based credit system to an impersonal system of commercial exchange. Middleton’s A Trick to Catch the Old One (1608) examines how those heavily in debt dealt with both the social and legal consequences of defaulting on loans.