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Dissertations / Theses on the topic 'France – Intellectual life – 17th century'
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Steczowicz, Agnieszka. "'The defence of contraries' : paradox in the late Renaissance disciplnes." Thesis, University of Oxford, 2004. https://ora.ox.ac.uk/objects/uuid:f2f93089-60f6-4408-aae9-2b3e595efcdc.
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The aim of this thesis is to examine the meanings and functions of paradox in the late Renaissance. My understanding of Renaissance paradox, in contrast to that of most critics and historians, rests entirely on contemporary definitions of the term, rather than on its present-day meaning. Paradoxes as they are envisaged in this study begin to appear in the wake of the humanist rediscovery and dissemination of Cicero's Paradoxa Stoicorum. In this work, paradoxes are characterized as 'admirabilia contraque opinionem omnium', a definition that draws attention to two important traits of paradox, repeatedly invoked in the Renaissance: its association with wonder, and its opposition to common opinion. This thesis examines the history of classical paradox as it was revived, expanded beyond the narrow confines of Stoic ethics, and adapted to new purposes so successfully that it became a recognisable genre of polemical writing, with hundreds of works in Latin and the vernacular being described as paradoxes. Previous studies of Renaissance paradox have centred almost exclusively on its literary and vernacular manifestations, and on the paradoxical encomium in particular. My own work charts the rise to prominence and the ensuing transformations of paradox in a range of disciplines: rhetoric and ethics, theology, law, medicine, and natural philosophy. I compare the different associations that paradoxes acquire in all these areas, and the argumentative strategies that they deploy. My analysis of specific examples of paradox is informed by the methods of both literary analysis and intellectual history. Paradoxes, I argue, offered their authors the possibility of departing from established norms and of voicing novel views in a period of intellectual unrest. In their challenge to received and common opinion, they paved the way for more radical ideas in the following century, and they have much to tell us about dissident ways of thinking in the late Renaissance.
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Hollewand, Karen Eline. "The banishment of Beverland : sex, Scripture, and scholarship in the seventeenth-century Dutch Republic." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3e5a54dc-0664-46eb-8625-de3c480d118c.
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Hadriaan Beverland (1650-1716) was banished from Holland in 1679. Why did this humanist scholar get into so much trouble in the most tolerant part of Europe in the seventeenth century? In an attempt to answer this question, this thesis places Beverland's writings on sex, sin, Scripture, and scholarship in their historical context for the first time. Beverland argued that lust was the original sin and highlighted the importance of sex in human nature, ancient history, and his own society. His works were characterized by his erudite Latin, satirical style, and disregard for traditional genres and hierarchies in early modern scholarship. Dutch theologians disliked his theology and exegesis, and hated his use of erudition to mock their learning, morality, and authority. Beverland's humanist colleagues did not support his studies either, because they believed that drawing attention to the sexual side of the classics threatened the basis of the humanist enterprise. When theologians asked for his arrest and humanist professors left him to his fate, Dutch magistrates were happy to convict Beverland because he had insolently accused the political and economic, as well as the religious and intellectual elite of the Dutch Republic, of hypocrisy. By restricting sex to marriage, in compliance with Reformed doctrine, secular authorities upheld a sexual morality that was unattainable, Beverland argued. He proposed honest discussion of the problem of sex and suggested that greater sexual liberty for the male elite might be the solution. Beverland's crime was to expose the gap between principle and practice in sexual relations in Dutch society, highlighting the hypocrisy of a deeply conflicted elite at a precarious time. His intervention came at the moment when the uneasy balance struck between Reformed orthodoxy, humanist scholarship, economic prosperity, and patrician politics, which had characterized the Golden Age of the Dutch Republic, was disintegrating, with unsettling consequences for all concerned. Placing Beverland's fate in this context of change provides a fresh perspective on the intellectual environment of the Republic in the last decades of the seventeenth century.
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Condon, Liam. "John Dunton : print and identity, 1659-1732." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669920.
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Mitchell, Sarah. "The Kunstkammer object in seventeenth-century Salzburg : a case study, early modern collections, transformation and materiality." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83130.
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The phenomenon of princely and scientific collections that proliferated in Europe during the sixteenth and seventeenth centuries has become an important focus for modern historical analysis. These collections provide a microcosm of contemporary political, economic and philosophical ideas, often characterized by geographical and cultural differences. The mid-seventeenth century Kunst- and Wunderkammer studied here, instituted by the archbishops of Salzburg, brings forward themes sometimes neglected in the literature. The archbishops' collection was part of broader efforts to reinvent the city of Salzburg as a representation of both sacred and secular authority. Strategies for significant display were derived from religious and imperial ritual, drawing on the potential of objects as signifiers. In this context, I also examine some of the debates within the literature on princely and scientific collections, where the study of wonder and science begins to merge in cross-disciplinary scholarship. Finally, I highlight the role of transformation and materiality in these collections to argue that the act of collecting objects and the act of making were imbricated in the process of self-definition. Within themes of technology and process, I investigate the pursuit of creating Kunstkammer objects, as well as the business of their display and use in diplomacy.
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Hickmott, Sarah. "(En) Corps Sonore : towards a feminist ethics of the 'idea' of music in recent French thought." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:eb562d0f-e9be-40f4-b0a3-9fa6da0a3136.
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This thesis explores the way music is characterized, used, or accounted for in recent (post-1968) French thought, focusing in particular on the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe, and Alain Badiou. In spite of the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontological, political, ethical and aesthetic concerns, particularly in terms of how it relates to the (im)possibility of a subject, the condition of truth, and the role of philosophical thought itself. The thesis situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music 'is' is often assumed rather than critically re-evaluated. In short, by tracing the musical-transcendental baggage of an inherited metaphysical conception of music - one which often understands music in close relation to the feminine, (sexual) excess, and the beyond of language and/or the symbolic - the thesis shows that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the thesis highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics - on the occasions that they are considered and not simply ignored or denigrated - are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the thesis demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women - along with music - to the beyond of pre-, inter-, or post-signification.
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Theodore, David Michael. ""Aproued on my self" : inbetween the sheets of Inigo Jones's Palladio." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31030.
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In this essay I look at the significance of Inigo Jones's annotated copy of Andrea Palladio's I quattro libri dell'architettura in a time of momentous change in the habits of readers and writers, printers and publishers, architects and kings. Jones lived in Stuart England, a hinge period swinging between print culture and manuscript culture, science (mechanical philosophy) and magic (Neoplatonism, hermeticism, alchemy), humoural physiology and modern medicine. I examine his book as part of a change of social setting, looking outward from his study of Palladian architectural theory to developments in publishing and authorship, perspective and theatre design, graphic representation and anatomy, medicine and the history of the human body.
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Wärnberg, Karl Gustel. "The Sacred Pilgrimage : The Concept of Truth in the Life and Work of Lars Skytte." Thesis, Uppsala universitet, Institutionen för idé- och lärdomshistoria, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326295.
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This thesis studies the life and work of Lars Skytte (1610-1696), a Swedish Ambassador to Portugal who converted to Catholicism and became a Franciscan theologian, in relation to the concept of Truth. For Skytte, Truth and Catholicism are synonymous. The thesis focuses on his semi-autobiographical book Peregrinatio sancta fratris Laurentii a D. P. Sueci (1658). As a sort of intellectual biography, this study aims at situating Skytte within the context of post- reformation rhetoric and theological thought. The main question guiding the thesis is in what way Lars Skytte argues for the Truth of the Catholic Church, as opposed to what he terms ‘schismatic’ and ‘heretical’ movements. Following a set of identified arguments for the Catholic Church as the religio vera, the thesis looks at how they are employed in various ways to answer the overarching question.
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Robert-Nicoud, Vincent Corentin. "The world upside-down in sixteenth-century French literature and visual culture." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1c0536cf-ffcf-4324-a626-19075e1acca8.
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To call something 'inverted' or 'topsy-turvy' in the sixteenth century is, above all, to label it as abnormal, unnatural and going against the natural order of things. The topos of the world upside-down brings to mind a world returned to its initial state of primeval chaos, in which everything is inside-out, topsy-turvy and out of bounds: fish live in trees, children rule over their parents, wives command their husband and rivers flow back to their source. This thesis undertakes a detailed account of the development of the topos of the world upside-down in sixteenth-century French literature and visual culture. By examining different uses of this topos - comic, moralising and polemical - it relates the transformations of the topos to religious, social and political conflicts of the period. To explain the shift of this topos from comic and moralising device to satirical and polemical tool, this thesis argues that troubled times produce troubled texts. In order to demonstrate this hypothesis, two kinds of evidence will be examined: Chapter 1 and Chapter 2 present diachronic evidence of the 'polemicisation' of the topos of the world upside-down in literary genres of the period (adages, paradoxes and emblems) and within François Rabelais's body of work; Chapter 3 and 4 provide synchronic evidence of the polemical use of the topos of the world upside-down during the French religious wars in Huguenot and Catholic polemic and in depictions of socio-political turmoil. Charting the variety of uses of the topos of the world upside-down throughout the sixteenth century, this thesis connects the world upside-down and its historical context; and contributes to the scholarship on religious polemic.
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Dégez, Camille. "Une société carcérale : la prison de la Conciergerie (fin XVIe-milieu XVIIe siècles)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040156.
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La prison de la Conciergerie occupe une place particulière dans le paysage pénitentiaire parisien du XVIIe siècle. Elle accueille de nombreux prisonniers pour dette, les prisonniers jugés en première instance par l’une des juridictions siégeant dans Palais de la Cité, dont elle occupe les bâtiments, mais aussi et surtout les prisonniers en appel devant le parlement de Paris. A partir de l’analyse de parcours individuels de prisonniers et de personnels de la Conciergerie (les dynasties de concierges Regnoust et Dumont), reconstitués grâce aux archives criminelles et notariales, la thèse porte sur les relations sociales et les comportements au sein de la prison. Après une première partie consacrée à un état des lieux de la Conciergerie au début du XVIIe siècle, la deuxième partie met en avant les particularités de sa société carcérale : moins séparée du monde extérieur que les prisons actuelles, elle reproduit à petite échelle la société parisienne. Plutôt que sur une distinction rigoureuse entre hommes et femmes et entre catégories criminelles, son organisation est fondée sur la position sociale et la richesse. Les prisonniers régulent eux-mêmes leurs conflits, le plus souvent sans faire appel au personnel. Quant à l’univers socio-professionnel des gardiens, il ressemble beaucoup à celui des métiers parisiens par les relations à la fois solidaires et hiérarchisées entre le concierge et ses guichetiers et morgeurs. La troisième partie porte sur « l’aventure de l’évasion », révélatrice de l’importance du contexte social et culturel dans la décision, la préparation et l’exécution d’une telle entrepriseThe prison of the Conciergerie occupied a special place in the Paris prison landscape of the seventeenth century. It hosted many prisoners for debt, prisoners tried in first instance by one of the courts sitting in the Palais de Justice, which occupied the buildings, but also and above all the prisoners appealed to the parliament of Paris. From the analysis of individual pathways both of prisoners and staff of the Conciergerie (dynasties of chief jailers Regnoust and Dumont) and reconstituted from criminal and notarial archives, the thesis focuses on social relationships and behavior within the prison. After a first part dedicated to an overview of the Conciergerie in the early seventeenth century, the second part highlights the peculiarities of this prison society: less separated from the outside world that the current prison, it played small-scale Parisian society. Rather than on a rigorous distinction between men and women and between criminal groups, the organization was based on social status and wealth. Prisoners regulated their own conflicts, often without involving staff. As for the socio-professional world of guards, it resembled that of the Parisian business relations, involving both solidarity and hierarchy between the jailers. The third part focuses on "the adventure of escape", revealing the importance of social and cultural context in the decision, preparation and execution of such an undertaking
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Wong, Shirley Tang. "La situation du personnage de Tartuffe au temps de Molière : interférences, rencontres, affinités." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25541.
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Contrary to popular belief, three hundred years of Molière studies has not exhausted the possibilities of further research in this field. Of the many Molière plays read and studied, Le Tartuffe is certainly among those that give rise to the most number of questions and the greatest amount of research. While many of the contemporary critics have devoted lengthy and detailed studies to the various aspects of Tartuffe's origins, his development throughout the play and even his influences on later seventeenth century fiction, few have chosen to discuss the importance of all three. Hence, our desire to present a more condensed but better organized version of the facts and speculations surrounding the circumstances of the play Le Tartuffe and more specifically those of the germination and evolution of its main character.
Chapter one deals with a general study of the Italian theatrical tradition and discusses the many traces of Italian influences which are present in Molière's hypocrite. Our goal in this first chapter is not to stress Molière's dependence on his Italian colleagues but to illustrate the process of give and take and the rich exchange of ideas which all contribute to the makings of Tartuffe's mysterious but dynamic personality. The second chapter distances itself from the world of fiction to take a closer look at Molière's personal circumstances at the time of Tartuffe's conception and to examine briefly each of the live personnages who may or may not have served as a model for the playwright's fictitious character. Once again, we do not seek to implicate Molière as a man of vengence who was unable to separate his work from his personal prejudices but rather to underline the fact that Molière's creation relied equally on his imagination as well as his encounters in the world of reality. In our third and final chapter we return once again to the world of fiction and make-believe. Chapter three is divided into two parts: the first part deals with a study of other comedies by Molière and the numerous correlations that exist between Tartuffe and the main characters of these other plays. Part two discusses the works of two major writers of Moliere's time; La Rochefoucauld and La Bruyère and the extent to which Molière's Tartuffe influenced the 'raaximes' and the 'caractères'.
Although our study of Molière's Tartuffe does not solve all the mysteries surrounding this dynamic character, it does give a better insight of his affinities and his influences within the seventeenth century world of fact and fiction. In our conclusion, we stress and draw upon two main points. In examining the character of the hypocrite, it is important to recognize that he is indeed a rich combination of external sources and influences right from the legacy of the Italians to the various courtisans and nobles of Molière's own time. On the other hand, it is equally vital to keep in mind Tartuffe's own flavor of authenticity for although many of his superficial traits are derived from external sources, there are elements in this fictitious character that render him unique. Secondly, we must consider the author himself and his role in the development of Tartuffe's personality. Time and again it has been suggested that Moliere's characters were in fact no more than 'porte-paroles' of his personal philosophy or worse, tools of vengence against his own real life enemies. We have always adhered to the theory that these suggestions were purely speculative and our research of Tartuffe's origins, affinities and influences have shown us that far from being a tool of vengence, the hypocrite is the reflection of one man's energy, perception and devotion to his work.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Segura, Mauricio. "Le discours francais sur l'Amerique latine revolutionnaire (1950-1985) /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38274.
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This thesis entitled "Le discours francais sur l'Amerique latine revolutionnaire (1950--1985)" proposes to analyze about thirty texts published in France during the mentioned period in order to extract the primary axis around which the hexagonal representations and discourses which examine Latin America articulate themselves. The corpus gathers chiefly novels and political essays, but it also includes anthropological essays, journalistic commentaries and testimonies. This is a study that relies on the theory of social discourse and on imagology.This investigation, which perceives itself as an overview of the images elaborated by the French social discourse on Latin America, examines closely the historical moments when there are determinant discursive mutations. Therefore, from 1950 to 1961, a first manner of apprehending the Latin American other is identified. This period was described as a moment of transition during which the French discourse goes from a discursive frame which emphasizes on the theme of nature to a discursive frame which privileges the power relations between social agents. From 1962 to 1974, Latin America becomes for the French writers a geographical region upon which one pours off revolutionary aspirations. The axioms of third worldism, primary discursive formation enhanced by this period, run through the whole of the texts at various degrees. Also, this thesis aims to reveal the figures and spaces which emerge from this whole of contradictory representations. From 1975 to 1985, one witnesses the decomposition of the discursive formations and representations established during the two previous decades. Indeed, several discursive formations during these ten years question not only third worldism and its revolutionary impulses, but also the function of the intellectual.
On a more general basis, this study examines the history of ideas in France from 1950 to 1985. One of its implicit goals is to describe the rules which diversify, give coherence, integrate, exclude, and legitimate a "new" idea in the French social discourse.
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Schueren, Eric Van der. "Les déserts de l'âme: approches sociologiques de la retraite spirituelle dans la France du XVIIe siècle." Doctoral thesis, Universite Libre de Bruxelles, 1993. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212769.
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Mueller, Marieke. "Subjectivity in Sartre's 'L'idiot de la famille' : biography as a space for the development of theory." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:54f60363-e148-4481-b710-c7e68a908bd5.
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In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).
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Kay, Simon Michael Gorniak. "Literary, political and historical approaches to Virgil's Aeneid in early modern France." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13837.
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This thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil's Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers' desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators' interpretations of Virgil's work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil's poem in a major French literary work. Firstly, Ronsard's Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil's narrative. Ronsard's poem is read in the light of Mapheo Vegio's “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil's narrative and carries it over into a Christian context. Next, Agrippa d'Aubigné's response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan's Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D'Aubigné's inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio's Antoniad. Finally, Guillaume de Salluste du Bartas' combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil's narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.
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Viel, Guillaume. "Sociabilité et érudition locale : les sociétés savantes du département de la Manche, du milieu du XVIIIe siècle au début du XXe siècle." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC023/document.
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Faisant leur apparition au cours du XVIIIème siècle dans les provinces françaises, les sociétés savantes se sont développées et multipliées tout au long du XIXème siècle.Cette thèse a pour but d’identifier quelles sociétés savantes ont été créées en Normandie, dans le département de la Manche, entre 1755 et la Première Guerre Mondiale. Ce travail a consisté dans un premier point à déterminer comment elles ont été fondées, organisées, dirigées et financées. Dans un deuxième point, nous avons cherché à identifier quels types de personnes ont été impliquées, où elles vivaient et quelles étaient leurs activités professionnelles. Dans un troisième et dernier point, nous avons voulu comprendre quelles activités menaient les sociétés savantes de la Manche, notamment le fonctionnement de leurs réunions privées et publiques, et comment elles parvenaient à diffuser des connaissances auprès d’un plus large public grâce, par exemple, à leurs publications ou à leur participation à la vie culturelle localeAppearing during the 18th century in French provinces, knowledge societies have developped and multiplied throughout the 19th century.This thesis aimes to identify which knowledge societies have been created in Normandy, in the department of Manche, from 1755 to the First World War. This work consisted, in a first point, of determining how they were established, organized, ruled and financed. In our second point, we tried to identify what kind of people were involved, where they lived and what their professional activities were. In our last point, we wanted to understand what kind of activities were practised by Manche knowledge societies, especially how their private and public sessions worked, and how they managed to spread knowledge to a larger audience thanks to, for example, their publications or their involvment in local cultural life
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Salvi, Claudia. "Jean-Baptiste Monnoyer (Lille 1636 – Londres 1699) : peindre des fleurs et des fruits à l’âge classique." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3068.
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A partir de l'élaboration du catalogue de son oeuvre (tableaux de chevalet et peintures décoratives), cette thèse étudie et ré-évalue la place de Jean-Baptiste Monnoyer dans la France du Grand Siècle. L'étude des oeuvres de ses collaborateurs et contemporains permet de préciser l'originalité de sa personnalité artistique et de définir sa place dans le développement de la peinture de nature morte en France au XVIIe siècle. Né à Lille, Monnoyer arrive tôt à Paris, où il ajoute à son expérience de la nature morte nordique l'influence des peintres français de la vie silencieuse. Il inscrit aussi son nom dans le siècle de Louis XIV comme peintre décorateur, effectuant les premiers décors des résidences de jeunesse du monarque (Saint-Germain-en-Laye, Vincennes, les Tuileries). Il y donne ses lettres de noblesse au motif de la guirlande tressant la gloire du prince.Comme collaborateur de Le Brun, il travaille dans des chantiers privés (Hôtel Lambert, château de Vaux), ou des châteaux de ministre du roi (Sceaux). Il part encore travailler en Angleterre à la fin du siècle. L’abondance des commandes royales l'oblige à s’entourer d’assistants. Les enjeux artistiques de cette production sont enfin analysés : la position du genre de la nature morte dans la doctrine officielle de l’Académie et sa reconnaissance dans les collections privées ; le statut du peintre de nature morte dans la génération des classiques, de Félibien à Perrault. Enfin, le rôle fondamental de Monnoyer dans le développement et la diffusion de ce genre est étudiéHaving compiled the entire work catalogue of Jean-Baptiste Monnoyer (easel paintings and decorations), this thesis aims to study and re-value his importance in France during the Grand Siècle.Through the study of works of his collaborators and contemporaries the uniqueness of his artistic personality is specified, as well as his position in the development of still life painting in France during the 17th century.Born in Lille, Monnoyer came early to Paris, where he joins his knowledge of Nordic still life painting to the influence of French « silent life » painters.His name is famous too during the century of Louis XIV as a painter decorator. As such, he made the first decorations for the youth residences of the monarch (Saint-Germain-en-Laye, Vincennes, the Tuileries). He there develops the importance of the pattern of the garland glorifying the prince.As a collaborator of Le Brun, he works in private worksites (Hôtel Lambert, château de Vaux), or in castles of ministers (Sceaux). He also works in England at the end of the century. Due to the great amount of royal orders, he was forced to gather assistants. The artistic issues of this production are analysed: the situation of the still life genre in the official doctrine of the Academy, and his recognition in private collections ; the position of the still life painter in the classical generation, from Felibien to Perrault. And then, the fondamental part of Monnoyer in the development and the rayonnment of this genre is studied
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Hauswedell, Tessa C. "The formation of a European identity through a transnational public sphere? : the case of three Western European cultural journals, 1989-2006." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/789.
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This thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06. The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis. The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages. The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.
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Lubbe, Fredericka van der. "Martin Aedler and his High Dutch Minerva (1680)." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27586.
Full textAbstract:
This study seeks to disprove the reasons offered by previous scholars for the
emergence of the first German grammar for the English, the High Dutch Minerva (1680),
by considering biographical material on the author of this grammar, Martin Aedler (1643
- 1724), and placing the author and his work in their German and English social context.
It operates on the hypothesis that Aedler, a native of Saxony, published his grammar in
England for the use of the English intellectual lite, but did so essentially to satisfy the
patriotic imperatives of the German intelligentsia; namely, members of the language
societies of pre—national Germany. Previous scholars have hypothesised about the
emergence of the grammar based on English requirement for such a work, but have not
drawn biographical material into their argument, and thus unwittingly ignored evidence
suggesting influence by the language societies, and the desire to legitimate the German
language for a new audience.
This line of argument is conducted by means of the provision of a chapter
considering the general attitudes to language learning and requirement for skills in
German in England, then the interest of German intellectuals in England during the same
period. This leads into a biography of Aedler in his milieu both in England and
Germany. He is shown to have patriotic concerns, a high level of skill in languages and,
above all, is invested in matters which he believes are for the "public good". Aedler's
motive for writing the grammar are next considered: it is established here that while
there is a great deal of evidence supporting an intended English readership, there is also
evidence to suggest that Aedler wrote his work to be able to propagate German abroad,
and to demonstrate it to be an economical and rational language, acceptable to the
English. The following chapter demonstrates how Aedler conducted his defence of the
language in terms of his selection of grammatical theory. The final chapter considers the
reception of the High Dutch Minerva in England and Germany.
This hypothesis is supported by previously unpublished manuscript
correspondence and other documents, archival records, and the High Dutch Minerva
itself.
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Bundu, Malela Buata. "L'Homme pareil aux autres: stratégies et postures identitaires de l'écrivain afro-antillais à Paris, 1920-1960." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210803.
Full textAbstract:
Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.
This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.
Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
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PIERRE, Benoist. "Les réseaux cléricaux dans la construction de l'état moderne : la congrégation franco-italienne des Feuillants (XVIe-XVIIIe siècle)." Doctoral thesis, 2002. http://hdl.handle.net/1814/5940.
Full textAbstract:
Examining board: M. Anthony Molho (I.U.E.) ; M. Mario Rosa (École Normale Supérieure de Pise) ; M. Bernard Dompnier (Univ. de Clermont-Ferrand) ; Mme Nicole Lemaitre (Univ. Paris-I Sorbonne) ; M. Gérard Delille (I.U.E.)Defence date: 19 December 2002
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
21
CUTTICA, Cesare. "Adam... “The Father of All Flesh”. An intellectual history of Sir Robert Filmer (1588-1653) and his works in seventeenth-century European political thought." Doctoral thesis, 2007. http://hdl.handle.net/1814/6939.
Full textAbstract:
Defence date: 21 June 2007Examining Board: Prof. Martin van Gelderen, EUI (Supervisor) ; Prof. Edward Arfon Rees, EUI ; Prof. Johann P. Sommerville, University of Wisconsin at Madison ; Prof. Peter Lake, Princeton University.
Open Access Full-text file was withdrawn on 5 July 2011 upon request by author.
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This thesis is divided in seven chapters exploring the works of Sir Robert Filmer (1588-1653) in the context of seventeenth-century European culture. It addresses a series of important questions regarding his oeuvre that have been hitherto ignored or, at best, left unanswered. Thus, the project attempts to provide a response to the following points: how has Filmer been read since the seventeenth century right up to modern historiography? Has his thought been mainly interpreted in a caricatured way? Secondly, who was the ‘real biographical’ Sir Robert Filmer? Thirdly, what do we know about the much commented upon but scarcely studied Patriarcha, namely about the document itself? When was it conceived and in connection with what milieu of publications? Did it respond to a particular target and, if so, what was the offending text or political language in question? What elements urged Sir Robert to compose his writing? Moreover, to what extent were Filmer’s ideas compatible with those of his contemporaries? Did he shape his principles in conjunction to the discourses of other authors? Did his doctrines of absolute monarchical power exert any influence or, at least, can it be said that he had some theoretical heirs in the eighteenth century? Finally, did Sir Robert put pen to paper exclusively to discuss political issues or did he formulate concepts and ideas on other relevant subjects debated within the republic of letters?
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STANNEK, Antje. "Telemachs Brueder : die Studienreisen des deutschen Adels im siebzehnten Jahrhundert." Doctoral thesis, 1996. http://hdl.handle.net/1814/5984.
Full textAbstract:
Defence date: 5 July 1996Examining Board: Prof. Dr. Dominique Julia, Paris/Florenz (Supervisor) ; Prof. Dr. Winfried Schulze, München (Supervisor) ; Prof. Dr. Michael Müller, Florenz ; Prof. Dr. Michael Herbsmeier, Odense ; Prof. Dr. Marcello Verga, Florenz
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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"松江畫派與及周邊地區藝術活動關係之研究." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074167.
Full textAbstract:
This thesis looks into the development of Songjiang School in the context of mutual interaction and networking among painters. It focuses on two phenomena. Firstly, it studies the interaction between Songjiang School painters and artists from various Jiangnan art centres. Secondly, it explores the artistic genealogy within the Songjiang School. It investigates the activities of individual Songjian School painters in particular, and the rise and decline of the entire Songjiang School in general.Under the famous master literati Dong Qichang, Songjiang School painters broke new path in landscape painting, valuing moist ink tones at the expense of brush and ink. But even before Dong, Gu Zhenyi and Mo Shilong were already well known for their efforts in exploring new styles. Supported by brilliant art talent such as Chen Jiru, Zhao Zuo and Shen Shicong, Dong Qichang brought the Songjiang School to its zenith. However, it was also Dong Qichang who dug the grave for the School. As Dong's followers were mostly professional painters, they could not stand as equals to Literati connoisseurs. Some became Dong Qichang's ghost-painters at the expense of their artistic individuality, whereas others were trapped in the lower end of the art market. Consequently, the Songjiang School lost its vigor and prestige in the Qing dynasty. Only Dong Qichang, the leading master of the School, could dominate the literati painting scene.
With its economy revived after the suppression of the wako invasion in late Jiajing period (1522-1566), Songjiang quickly reassumed its dominant position in the art scene. Songjiang School painters became very self-conscious and proud of their own hometown. They succeeded in networking with connoisseurs in Zhejiang and Huizhou, and learning valuable lessons from the works of their Suzhou counterparts. Consequently, although both the Wu (Suzhou) and Songjiang Schools were descendents of the same literati painting tradition, the Songjiang School loomed large throughout the sixteenth and seventeenth centuries. The social prestige of some Songjiang literati certainly enhanced the success of the School.
徐麗莎.
呈交日期: 2005年8月.
論文(哲學博士)--香港中文大學, 2005.
參考文獻(p. i-x (2nd group)).
Cheng jiao ri qi: 2005 nian 8 yue.
Advisers: Jao Tsung-i; Harold Mok Kar-leung.
Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2355.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (p. i-x (2nd group)).
Xu Lisha.
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LINDORFER, Bianca Maria. "Cosmopolitan aristocracy and the diffusion of baroque culture : Cultural transfer from Spain to Austria in the Seventeenth century." Doctoral thesis, 2009. http://hdl.handle.net/1814/12037.
Full textAbstract:
Defence date: 8 June 2009Examining Board: Prof. Bartolomé Yun-Casalilla (European University Institute, Florence) - supervisor, Prof. James S. Amelang (Universidad Autónoma, Madrid), Prof. Heinz-Gerhard Haupt (European University Institute, Florence), Dr. Katrin Keller (University of Vienna)
First made available online on 25 October 2017.
This study aims to reveal traces of Spanish cultural influences on the seventeenth-century Austrian Habsburg monarchy, or to be more precise, on courtly and aristocratic culture. The focus is however less on the ruling houses, but rather more on the aristocratic society and its contribution to cultural transfer processes from Spain to Austria. Tracing themes of alteration in aristocratic selfrepresentation, evoked by political, social and cultural changes in the late sixteenth and early seventeenth centuries, this study examines the role of culture in general, and cultural borrowings in particular, in the process of aristocratic re-invention. "A nobleman has to be curious", Prince Karl Eusebius Liechtenstein once argued. "Thereby he distinguishes himself from the ordinary man." This curiosity in every respect was beyond any doubt a decisive factor for cultural transfer processes.
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PROSPERI, Laura. "Il cibo del piacere e dell'immortalità : dietetica e procreazione in antico regime (Francia, sec.XVI-XVII)." Doctoral thesis, 2006. http://hdl.handle.net/1814/6341.
Full textAbstract:
Defence date: 2 October 2006Examining board: Prof. Laurence Fontaine (Supervisor EUI), CNRS-EHESS, Paris ; Prof. Allen J. Grieco, Harvard University Center for Italian Renaissance Studies ; Prof. Massimo Montanari, European University Institute
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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AUBRY, Sylvie. "Culture et societe au Palais-Royal 1770-1810." Doctoral thesis, 1995. http://hdl.handle.net/1814/5716.
Full textAbstract:
Defence date: 24 February 1995Examining board: Haim Burstin (Università di Siena) ; Olwen Hufton (Institut Universitaire Européen) ; Dominique Julia (E.H.E.S.S., supervisor) ; Daniel Roche (E.H.E.S.S., external supervisor) ; Paolo Viola (Università di Palermo)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
27
Moore, Christine M. "A literary study of "Ille et Galeron" by Gautier D'Arras : generic experimentation and development in late twelfth century France." Phd thesis, 1991. http://hdl.handle.net/1885/139466.
Full text
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BARBUSCIA, Aurélie. "Rossini et la "Restauration" de la grandeur musicale dans la France des années 1820." Doctoral thesis, 2013. http://hdl.handle.net/1814/28028.
Full textAbstract:
Defence date: 5 June 2013Examining Board: Professor Antonella Romano, EUI (Directeur de thèse) Professor Esteban Buch, EHESS Professor Danièle Pistone, Université Paris Sorbonne-Paris IV Professor Lucy Riall, EUI Professor Sophie-Anne Leterrier, Université d'Artois
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This thesis investigates the changing conditions in the European art market after the Congress of Vienna (1815). It focuses mainly on the socio-professional development of the Italian composer Gioachino Rossini and analyses his first visit to Paris in 1823 from a social, cultural and political point of view. It redefines the issue of grandeur in the context of urban renewal (Paris as a capital city) and a political regime in search of legitimacy (the Restoration period). Rossini's first visit to Paris is examined in reference to his life experiences as well as the changing geopolitical face of Europe at the time. First, a micro-analysis of his stay in Paris explores the construction of this symbolic event and makes a prosopography of the various institutional, political and artistic actors involved. Second, this thesis examines the reasons for Rossini's occupation of the French cultural arena. France's cultural policies are highlighted by concentrating on the French Restoration government's strategies in bringing Rossini to Paris. This thesis also examines the other side of the coin, namely how market logic was established in theatrical productions and amongst authors and institutions, and how this marked the progressive dismantling of the privilege system in Parisian theatres. To do so, the thesis analyses the play: Rossini à Paris ou le grand dîner, the Scribe's libretto of which describes a banquet given in Rossini's honor during his stay in Paris. Third, the debates connected to Rossini's visit reveals how musical "traditions" are radicalized around a national paradigm. Crossing varied and original sources (correspondences, scores, play librettos, newspapers, institutional sources), this thesis contributes significantly to the study of the relationship between the artist, the power and their representations.
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ZANTEDESCHI, Francesca. "Une langue en quête d'une nation : le débat sur la langue d'oc au XIXe siècle." Doctoral thesis, 2009. http://hdl.handle.net/1814/12014.
Full textAbstract:
Defence Date: 24/04/2009Examining Board: Professor Heinz-Gerhard Haupt, European University Institute (Supervisor); Professor Enrique Ucelay-Da Cal, Universitat Pompeu Fabra (Second Supervisor); Professor Michael Keating, European University Institute; Professor Anne-Marie Thiesse, EHESS
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
Dans le premier chapitre je définirai mon approche de la question nationale en m’appuyant sur certaines théories classiques du nationalisme. Je m’attacherai longuement sur le lien entre langue et nation, que je mettrai en perspective historique. En particulier, j’examinerai le cadre conceptuel et philosophique dans lequel l’idée politique de nation a vu le jour, à la fin du XVIIIe siècle. Et je le ferai en ayant toujours présent à l’esprit l’évolution des études linguistiques, notamment à partir du début du XIXe siècle. Dans le deuxième chapitre, après avoir traité des idées linguistique en France depuis le XVIIIe siècle, je considérerai le contexte français dans la première moitié du XIXe siècle. Je porterai une attention particulière à la politique culturelle française depuis la Révolution de 1789, et notamment aux politiques linguistiques des différents gouvernements. Je parlerai donc des enquêtes linguistiques et ethnologiques qui accompagnent l’intérêt nouveau pour les traditions populaires, mais aussi de leur dimension politique. J’expliquerai comment elles emboîtent le pas à la quête des origines nationales. Finalement, j’aborderai le renouveau qui caractérise l’historiographie française depuis les années 1820 pour montrer comment l’histoire du Midi de la France s’insère dans le grand tableau de l’histoire nationale. Après ces chapitres de préliminaires historiques et théoriques, avec le troisième chapitre, on abordera l’émergence de la question de la langue d’oc à travers les travaux d’une lignée d’historiens, antiquaires, lexicographes, etc. qui depuis le XVIIIe siècle relancent l’intérêt pour les 'langues du Midi' en France. Je parlerai de Raynouard, le fondateur des études de langue romane, et de ses successeurs qui ont dessiné le cadre théorique dans lequel s’inscrira le débat pendant presque tout le siècle. Débat qui mettra en jeu de nom de la langue : langue romane, langue d’oc, provençal, et dans lequel la renaissance provençale promue par le groupe des félibres joue un rôle capital. Je parlerai longuement de son principal protagoniste, Frédéric Mistral, dont la personnalité, le génie poétique et le talent d’organisateur poussent le provençal sur le premier plan de la scène littéraire française. Dans le quatrième chapitre, je franchirai la frontière pyrénéenne pour découvrir comment la question linguistique et nationale a été abordée en Catalogne. Le choix de m’occuper de la question linguistique catalane est dû à plusieurs raisons : tout d’abord à la proximité linguistique et culturelle que ce pays voisin a avec les pays de langue d’oc. En deuxième lieu, au fait que, quelques années durant, les Provençaux et les Catalans ont partagé intérêts, revendications et rêves d’une confédération de peuples latins. Enfin, à la curiosité de voir comment le débat sur la langue catalane a été résolu en faveur d’une vision résolument nationale de la langue, de sorte qu’elle devient à la fois fondement et instrument de revendications politiques. Dans le cinquième chapitre je ferai retour en France et je m’arrêterai surtout dans le Languedoc, où la création de la Société des Langues Romanes à Montpellier donne une tournure différent au débat sur la langue d’oc. Créée presque trente ans après le Félibrige, la SLR fait sortir la discussion sur la langue du domaine poétique : ses intérêts linguistiques et philologiques la prédisposent en fait à des conceptions de la langue et à des projets de normalisation, surtout orthographique, antagonistes à ceux du Félibrige. Toujours en Languedoc, mais cette fois-ci à Toulouse, une autre initiative voit le jour visant à mettre en question la prééminence des Provençaux au sein du Félibrige : la Lauseto, organe des félibres rouges et apôtre de la 'Cause languedocienne', engage une véritable opposition idéologique au félibrige catholique et légitimiste de matrice provençale. Je terminerai le chapitre par une petite 'promenade' en Italie, où la questione della lingua est au centre d’un débat animé qui nous servira de point de comparaison. Dans le sixième chapitre je resituerai le débat dans le cadre étatique français. Je passerai d’abord rapidement en revue la longue question de la décentralisation culturelle. J’analyserai l’état de l’enseignement supérieur en France, je traiterai du débat sur la réforme universitaire, pour passer ensuite à l’institution académique des études philologiques et à leur importance pour le processus de construction d’un imaginaire national français. Dans ce contexte, je m’arrêterai longuement sur les querelles linguistiques qui divisent les linguistes de la SLR et les philologues de la Romania, sur leur opposition idéologique et sociologique. J’achèverai le chapitre sur la constitution des études de dialectologie en France. L’épilogue, finalement, où je traiterai de l’échec du mouvement renaissentiste de langue d’oc et de son 'repli' sur une idée latine utopique.
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"裂變之後的桃源建構: 清初陶學研究." 2013. http://library.cuhk.edu.hk/record=b5549700.
Full textAbstract:
本文是第一部專以清初陶學為研究對象的論文，擬從文人的情懷、詩學的演變、詩歌的用意、意象的運用、注本的闡釋等多角度概述清初陶學的全貌。在方法上，筆者除分析當時文人對陶淵明的評論外，還選取了清初四十家身份不同的文人，比較他們詩作中運用的陶淵明典故，探討他們對「陶淵明形象」的塑造與取捨，並以歷史背景為線索，梳理陶淵明意象在清初文人心目中地位的差異與其變化。基於上述的研究，筆者認為以往學術界把清初陶學只理解為「忠憤」的表現是不夠全面的，尤其是清初關於陶淵明的討論，除了遺民文人有熱烈的參與外，非遺民文人亦有相當數量的研究，而且他們之間還存在着不少的交流，互相回應。正因如此，清初和陶風氣盛極一時，並且出現了一種嶄新、「反其致」的和陶現象--〈反乞食〉詩。
這種借用陶淵明的意象互相交流與回應，更多反映在詩歌方面。清初文人借讀陶、評陶、和陶等方法抒發他們於易代間的鬱悶。這種詩歌世界，重現了陶淵明筆下的桃源，在這裏，他們「不知有漢，無論魏晉」，思想上可以暫時脫離現實的痛苦，悠然人間。這也使得清初《陶集》評注本的編撰，一改南宋以來十卷本的「全集」形式，而偏重於四卷本，只收錄詩作的體制。
The author intends to discuss the reception of Tao Yuanming in the Early Qing Dynasty from the aspects such as the emotions of poets, the changes of poetics, the intentions of poetries, the poetic imageries and the differences of the editions. And, it is the first work focusing solely on the reception of Tao Yuanming in the Early Qing Dynasty. Regarding the research methods, this dissertation not only studies the critiques through the existed methods, but also analyses the existed materials in a different manner. By comparing the literary allusions of Tao Yuanming’s life of 40 scholars lived in Early Qing who had different social background, the thesis discusses how these people constructed the images of Tao Yuanming and how they selected from Tao’s qualities. The thesis also tries to sort out the different attitudes of Tao among scholars of Early Qing and its changes with regard to the historical context.
Based on the research, the author finds out that the existed understanding of the reception of Tao Yuanming in the Early Qing, which focuses on the leftover citizen’s aspect, and which portrays Tao image as a rebellion was largely incomplete. Apart from the vigorous discussions regarding the images of Tao among the leftover citizen, the non-leftover citizen also discussed Tao with great enthusiasm. Under this circumstance, a new form of He Tao Shi(和陶詩) “poems written to match Tao’s , was found in opposite mode in order to response to those leftover citizen.
By appropriation of Tao’s images in their communication and responding each other especially in poems, scholars lived in Early Qing expressed their uneasiness and pain as in the change of the regime through reading, commentary and writing of Tao’s collections. Thus, this special kind of poem allowed the Early Qing scholars to escape from the distress of the reality to an ideal world, a typical example of which was “Peach-Blossom Spring created by Tao Yuanming. This tendency reflected in the editions of Tao’s works in Early Qing Dynasty that Tao’s poems received much attention while other forms of works were not included in the collections of works.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
梁樹風.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 331-376)
Abstracts in Chinese and English.
Abstracts in English and Chinese.
Liang Shufeng.
提要 --- p.I
目錄 --- p.III
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 研究範圍 --- p.1
Chapter 第二節 --- 研究旨趣 --- p.7
Chapter 第三節 --- 相關文獻回顧 --- p.14
Chapter 第四節 --- 論文架構與研究方法 --- p.17
Chapter 第二章 --- 清初陶學背景 --- p.24
Chapter 第一節 --- 明清易代與文人「生死」的抉擇 --- p.24
Chapter 第二節 --- 陶淵明生存方式對清初文人的啟示 --- p.29
Chapter 第三節 --- 清初文人寄情陶淵明的表現 --- p.37
Chapter 第四節 --- 清初遺民的逃禪與蓮社之約 --- p.56
Chapter 第三章 --- 清初詩學與陶詩評價的關係 --- p.91
Chapter 第一節 --- 清初詩壇尋「真」對陶詩評價的影響 --- p.91
Chapter 第二節 --- 清初「詩史」的重視與陶淵明甲子紀年之義 --- p.115
Chapter 第三節 --- 清初田園詩的復興與陶淵明田園詩內涵的解讀 --- p.130
Chapter 第四章 --- 清初的擬陶、集陶與和陶 --- p.151
Chapter 第一節 --- 清初擬陶與集陶的表現與陶文詩意的賞讀 --- p.152
Chapter 第二節 --- 清初和陶詩的表現與其意義 --- p.162
Chapter 第三節 --- 清初擬陶、和陶的觴濫--陶淵明〈酒二十首〉 --- p.169
Chapter 第四節 --- 清初的「反乞食詩」 --- p.184
Chapter 第五章 --- 清初的陶淵明意象與繪事 --- p.206
Chapter 第一節 --- 清初陶淵明與菊的意象與繪事 --- p.207
Chapter 第二節 --- 清初桃源的意象與繪事 --- p.228
Chapter 第六章 --- 清初《陶集》評注本 --- p.257
Chapter 第一節 --- 《陶淵明集》版本源流與清初的《陶淵明集》 --- p.257
Chapter 第二節 --- 清初的《陶淵明集》注釋 --- p.277
Chapter 第三節 --- 清初《陶集》評注的特色 --- p.319
Chapter 第七章 --- 結論 --- p.328
參考書目 --- p.331
Chapter 附錄一 --- 清初文人詩作用陶淵明典故語句輯錄 --- p.1
Chapter 附錄二 --- 清初文人用陶淵明典故的創作時間與數量分佈 --- p.105
Chapter 附錄三 --- 歷代書目所錄《陶淵明集》 --- p.106
Chapter 附錄四 --- 宋代《陶集》注本研究 --- p.119
Chapter 附錄五 --- 清初文人和陶詩附表 --- p.147
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Burkhart, Claire Lovell. "Reading and writing women : representing the femme de lettres in Stendhal, Balzac, Girardin and Sand." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2836.
Full textAbstract:
This dissertation explores the numerous literary representations of the femme de lettres during the first half of the nineteenth century in order to illustrate the complexities of women’s entrance into the male-dominated domain of literature and also to suggest the impact these fictional characters might have had on the reception of actual women writers as well as their omission from the century’s literary canon. The works that will be included in this analysis include: Mme de Staël’s Corinne, ou l’Italie, Stendhal’s Le Rouge et le noir, Honoré de Balzac’s Béatrix, La Muse du département and Illusions perdues, Delphine de Girardin’s La Canne de M. de Balzac, Napoline and La joie fait peur and George Sand’s Histoire de ma vie, Lettres d’un voyageur and Un Hiver à Majorque. In compiling such diverse works of literature, it becomes clear that both male and female authors from the early nineteenth century were unable to envision a publicly embraced female genius. Although almost all of the fictional femmes de lettres in this study faced a destiny of professional silence, the reasons given for their failures are split between the male and female authors. For the male authors, the woman as a successful intellectual, artist or author was ultimately impossible because of her inability to combine her female body and psyche with the “masculine” pursuit of knowledge. Conversely, the female authors wrote characters whose inability to fully embrace a public literary or artistic career stemmed from society’s unwillingness to tolerate her exceptionality rather than from an inherent disconnect between genius and the female sex.text