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Moura, Fernanda Korovsky. "Double-voiced medievalism." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/173272.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2016.Made available in DSpace on 2017-02-14T03:07:54Z (GMT). No. of bitstreams: 1 343955.pdf: 4381644 bytes, checksum: d67534e21dc02da3bd23f4e0048830c6 (MD5) Previous issue date: 2016
Abstract : The problem addressed in this thesis concerns the analysis of William Charles Macready's reconstruction of Shakespeare's King John in Victorian London. During the nineteenth century, the Medieval Revival movement achieved its peak. This movement aimed at reviving the Middle Ages as the glorious birth of English culture and identity in opposition to the Ancient Roman and Greek traditions. As a consequence, artistic manifestations which expressed medieval themes gained prominence, including Shakespeare's historical plays. Macready's production of King John premiered at Royal Theatre Drury Lane on 24 October 1842, therefore, during the heyday of the Medieval Revival. My initial questioning was on the implications of this medievalist trend of the nineteenth century in Macready's production. My initial hypotheses were two: Macready's production followed the general Victorian perspective on the Middle Ages, which was romanticised and idealised; or his production maintained a more negative outlook on the medieval past, characteristic of the Renaissance period, in which Shakespeare wrote the original play. What I came to realise during this study was that in Macready's case both perspectives intertwined on the Victorian stage. My analysis is based on postmodern discussions on history, historiography, and theatre historiography, mainly supported by the works of Linda Hutcheon, Hayden White, Thomas Postlewait, and Richard Schoch. Schoch's concept of double-voiced historicism¬ permeates this thesis. From his concept, I have created the notion of double-voiced medievalism, which is the combination of two different perspectives on the Middle Ages in one artistic manifestation. The main corpus of the present analysis was Charles Shattuck's published version of Macready's prompt-book for Shakespeare's King John.
O problema abordado nesta dissertação diz respeito à análise da reconstrução de William Charles Macready da peça King John de Shakespeare na Londres vitoriana. Durante o século XIX, o movimento Medieval Revival atingiu o seu auge. Esse movimento destinava-se a reviver a Idade Média como o glorioso nascimento da cultura e da identidade inglesas em oposição às tradições da Antiguidade Greco-Romana. Como consequência, as manifestações artísticas que expressavam temas medievais ganharam destaque, incluindo as peças históricas de Shakespeare. A produção de King John de Macready estreou em 24 de outubro de 1842 no Royal Theatre Drury Lane, portanto, durante o auge do Medieval Revival. Meu questionamento inicial foi sobre as implicações dessa tendência medievalista do século XIX na produção de Macready. Minhas hipóteses iniciais eram duas: a produção de Macready seguiu a perspectiva geral vitoriana sobre a Idade Média: romantizada e idealizada; ou a sua produção manteve uma perspectiva mais negativa sobre o passado medieval, típica do período da Renascença, em que Shakespeare escreveu a peça original. O que eu vim a perceber durante este estudo foi que, no caso de Macready, ambas as perspectivas se entrelaçaram no palco vitoriano. Minha análise é baseada em discussões pós-modernas sobre história, historiografia e historiografia do teatro, tendo como suporte, principalmente, os trabalhos de Linda Hutcheon, Hayden White, Thomas Postlewait e Richard Schoch. O conceito de double-voiced historicism de Schoch permeia esta tese. A partir do seu conceito, eu criei a noção de double-voiced medievalism, que é a combinação de duas perspectivas diferentes sobre a Idade Média em uma manifestação artística. O principal corpus da presente análise foi a versão publicada de Charles Shattuck do prompt-book de Macready da peça King John de Shakespeare.
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Cruz, Vergari Elena de la. "Édition critique d'une traduction française anonyme en prose du XIIIe siècle de l'Epitoma rei militaris de Végèce." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/392731.
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Nous présentons l'édition critique de la traduction française anonyme en prose médiévale de l'Epitoma rei militaris de Végèce du XIIIe siècle (VegLev) à partir des deux témoins conservés, un à la Bibliothèque Nationale de Saint-Pétersbourg, Fr. F. y. IX, 1, et l'autre à Wolfenbüttel, Bibliothèque Herzog August, Blankenburg 111. L'analyse codicologique, qui accompagne l'édition, a permis de situer les manuscrits et leurs enluminures au XIII siècle, au Levant. L'établissement de sa source latine en a facilité l'édition et montre les procédés de la traduction médiévale car il permet de la mettre en rapport avec la traduction anglo-normande de maître Richard. Cette traduction de l'Epitoma rei militaris, considérée la plus ancienne qui nous est parvenue, est conservé dans un codex unicus et contient aussi une copie latine dont le colophon fait référence à la ville d'Acre. De même, l'analyse de la langue et de la scripta a signalée quelques structures, formes et mots, qui se retrouvent reliés au Levant dans d'autres études ou outils lexicographiques, ainsi que des barbarismes reliés au domaine gallo-roman méridional et italique.
L'étude des interventions du traducteur a permis d'insére ce projet au sein d'une société guerrière au Levant pendant le XIIIe siècle. Ces interventions touchent la structure de l'oeuvre, les destinataires, ses habitudes sociales avec lesquelles le traducteur a mis à jour le bréviaire, telles que l'âge et l'origine des combatants, leurs habitudes dans l'exercice de la guerre, etc. Cette traduction, servile â la phrase latine, présente un texte souvent difficile à comprendre. Néanmoins, cette ancienne traduction a pu donner accès à une chaste guerrière incapable de comprendre le latin à un des textes militaires latins les plus célèbres, et aider ensuite à la réalisation d'autres traductions postérieures de l'Epitoma rei militaris. Enthousiaste des maximes, le traducteur devient soudainement autonome au texte latin lorsqu'il se consacre à la confection et la multiplication de sentences por enseignemens et en remembrance de l'art de la chevalerie.We present the critical edition of the anonymous 13th-century French translation in medieval prose of the Epitoma rei militaris by Vegetius (VegLev) based on two manuscripts conserved in the National Library of Russia in Saint Petersburg, Fr. F. v. IX, 1, and the Herzog August Library in Wolfenbiittel, Blankenburg 111. The codicological analysis, which is part of the edition, has dated the manuscripts and their miniatures to the 13th century Levant. Determining its Latin source made it easier to prepare the edition and also revealed the procedures of medieval translation because it could be compared with the Anglo-Norman translation by Master Richard. This Anglo-Norman translation of the Epitoma rei militaris, regarded as the oldest in existence, has been preserved in a codex unicus and there is also a Latin copy, which names the city of Acre. Likewise, the analysis of the language and the scripta reveals some structures, forms and words that have been associated with the Levant by other studies and lexicographical tools, and the use of loan words from the southern Gallo-Roman empire and Italy. The analysis of the translator's interventions has effectively framed this translation within the warfaring society of the 13th-century Levant. The interventions affect the structure of the work and inform us about the readers, such social customs of the time as the age and origin of the combatants, warfaring habits, etc. This translation faithfully follows the Latin phrasing and is often difficult to follow. However, the aim of the translation was to make one of the most famous military texts available to a warring caste unable to understand Latin and, perhaps, to be the basis on which subsequent translations of the Epitoma rei militaris could be made. The translator, an enthusiastic user of maxims, moves away from the Latin text when he devotes himself to devising numerous aphorisms por enseignements et en remembrance of the art of chivalry.
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Carpenter, Clare. "Medievalism and paganism : interpretations of the Carmina Burana." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/10816/.
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Rose, Katherine Mae. "Multivalent Russian Medievalism: Old Russia Through New Eyes." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493416.
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This thesis explores representations of medieval Russia in cultural and artistic works of the late nineteenth and early twentieth centuries, with an eye to the shifting perceptions of Russia’s cultural heritage demonstrated through these works. The thesis explores the history of medievalism as a field of study and interrogates the reasons that medievalism as a paradigm has not been applied to the field of Russian studies to date. The first chapter is an investigation of architectural monuments incorporating Old Russian motifs, following the trajectory of the “Russian Style” in church architecture, one of the most prominent and best-remembered forms of Russian medievalism. Chapter two explores the visual representation of medieval Russian warriors, bogatyri, in visual and plastic arts, and the ways in which this figure is involved in the national mythmaking project of the nineteenth century. The third chapter focuses on the Rimsky-Korsakov opera, The Invisible City of Kitezh and the Maiden Fevroniya, investigating the ways that different medieval and modern elements come together in this work to present an aestheticized image of medieval Russia. In this analysis of diverse and far-ranging facets of Russian medievalism in the plastic, visual, literary and performing arts, the complicated relationship between medievalism and the prevalent discourse of nationalism is investigated, opening up new opportunities for scholarly intersections with other medievalisms – in Western Europe and beyond.Slavic Languages and Literatures
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Cooper, Victoria Elizabeth. "Fantasies of the North : medievalism and identity in Skyrim." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16875/.
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The primary text of this thesis is Skyrim, a fantasy role-playing game released in 2011 to huge commercial success and critical acclaim. Through this text, the project explores the intersection of medievalist fantasy, politics, and whiteness. It investigates the parallels between political medievalisms, playful medievalisms, and the ways in which medieval fantasy is used to reinvent or reaffirm white identities. The Middle Ages, as a time period, an imagined geographic space, and an ideological concept, is often nostalgically recalled as a key element in Western nationalism and identity formation. Skyrim provides a major case study through which to interrogate the tropes of medieval fantasy in order to understand how the genre situates itself as a space of creativity and resistance, but in fact maintains conservative social values. Furthermore, it asks how players engage in identity play in medieval fantasy games, and to what extent Skyrim’s politics encourage discussion and reflection. This thesis is highly interdisciplinary in its form and utilises multiple methodologies to explore the construction of the self and the other through medievalism in fantasy. Traditional humanities methods are combined with a survey of players’ narrative choices and modes of identification with characters and factions within Skyrim, as well as analysis of ‘gamer’-activism in popular politics. Ultimately, although the games explored are established to be highly conservative in their modes of racial representation, the thesis finds that players are actively engaged in identity play. Although this is limited in many ways by game design—especially where medieval fantasy genre conventions are heeded—the potential for game worlds to destabilise racial boundaries and provide a space for identity play is acknowledged, opening up several avenues for further research in the fields of enquiry.
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van, Gent Celeste. "Edmund Blacket, Medievalism and the Gothic in the Colony." Thesis, Department of History, 2021. https://hdl.handle.net/2123/24948.
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Edmund Blacket (1817-83) was an English-born Gothic Revival architect. This thesis uses the
critical framework of medievalism to identify the function of multiple timeframes, real and
imagined, within the Gothic style. It traces Blacket’s youth sketching Gothic ruins in the Yorkshire
countryside, his construction of quintessentially English churches in the Colony of New South
Wales, and his grand designs for the University of Sydney’s first buildings. This journey shows how
Blacket’s use of the Gothic style spoke at once to a romanticised medieval past and the fragmented
colonial present, as well as anticipating the Colony’s future.
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Chiari, Gisele Gemmi. "A presença do medievalismo em Gonçalves Dias: uma estudo das Sextilhas de Frei Antão." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-27112009-132947/.
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A dissertação visa estudar as Sextilhas de Frei Antão de Gonçalves Dias, procurando compreender seu significado no conjunto da obra do autor e destacar sua relação com a corrente medievalista do Romantismo. As Sextilhas parecem destoar do espírito nacionalista que vigorou depois da Independência brasileira, pois além de reunir temas e lendas portugueses, simula uma linguagem arcaica. Por isso, o quadro ufanista e o programa de construção da nacionalidade do Segundo Império influenciaram a recepção negativa da crítica dos poemas de Frei Antão, contrariamente aos poemas indianistas de G. Dias que foram consagrados. A análise dos poemas das Sextilhas suscitou uma reflexão sobre o contexto histórico-cultural brasileiro do século XIX, temas caros e polêmicos para a sociedade brasileira oitocentista como a monarquia e a escravidão. Considera-se necessário recuperar o lugar dos poemas medievalistas como um dos aspectos precípuos da obra de Gonçalves Dias, pois a sua obra lírica e teatral, bem como a sua correspondência apontam para um programa poético de valorização da história e do medievalismo romântico. Para compreensão das Sextilhas, a pesquisa recorreu ao estudo de obras (livros, teses, periódicos) que versam sobre movimento romântico europeu e brasileiro, a poesia de Gonçalves Dias e outros românticos, o processo de construção da identidade nacional, a história do Segundo Império no Brasil e os aspectos temáticos e formais da lírica trovadoresca. Para o presente estudo considerou-se a edição das Sextilhas de Frei Antão revista pelo autor em 1857, composta por quatro poemas. A edição exclui o poema Lenda de Sam Gonçalo.The dissertation aims to study the Sextilhas de Frei Antão by Gonçalves Dias, trying to understand its meaning in the set of the authors work. The paper also detaches Gonçalves Dias relation with the medievalism current of the Romantic Movement. The Sextilhas seems to disagree to the nationalistic spirit that invigorated after Brazilian Independence, because it congregates subjects and Portuguese legends and simulates an archaic language. In order that, the ufanism tendency as the nacionalism program had influenced the negative reception of the critical of the poems of Frei Antão. On the other hand, the critical review had consecrated the indianist poems of G. Dias. The analysis of these poems also motivated a reflection on the Brazilian historical and cultural context of century XIX about important and controversial subjects for the Brazilian society in the 1800s such as the monarchy and the slavery. It is considered necessary to recover the place of medievalist poems as one of the main aspects of the literature of Gonçalves Dias. His lyric and drama works, as well as his correspondence points out to a poetical program of valuation of history and the Romantic medievalism. For understanding the Sextilhas, the research had recoursed to the study of workmanships (books, theses, articles) about European and Brazilian Romantic Movement, Gonçalves Dias and other Romantic authors, the Brazilian process of the construction of national identity, the poetry history of Brazil and aspects of the medieval lyric. For the present study it was considered the edition of the Sextilhas de Frei Antão reviewed by the author in 1857, composed of four poems. The edition excludes the poem \"Lenda de Sam Gonçalo\".
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Ferreira, Jefferson Nunes. "Sem medo das palavras: Introdução à Obra de Lourdes Ramalho." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6157.
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This dissertation is a brief introduction to the work of one of the most important playwriters of the present time: Lourdes Ramalho (Maria de Lourdes Nunes Ramalho, Jardim do Seridó- RN, 1926). Her literary production for adults (plays and cordéis ) has been thought here considering three aspects that, connected, give to her writing a singular form: the archetypicals images and characters of the european Middle Ages imaginary and of the Northeast of Brazil, the regionalist discourse based on folk culture and the medieval iberian focus on brazilian northeastern culture. At the same time, those marks put the author among a large literary tradition that, during the XXth century, tried to find a cultural identity to the brazilian Northeast. There is also, in this study, a attempt to approach the author style to the grotesque realism of François Rabelais, bringing up the analysis of this author and style made by the Literature theoretician Mikhail Bakhtin. After that, there is a discussion about the theatrical language and it is shown how two of Lourdes Ramalho s plays ( As Velhas and Romance do conquistador ) were brought to the stage through the interpretations of those texts made by one of the most creative directors of contemporary theatre: Moncho Rodriguez (Vigo/Spain, 1951). Those stagings of Lourdes Ramalho s texts become stronger the idea of a brazilian Northeast still immersed into traditions and esthetics that go back to the iberian Middle Ages. Both of the artists see, imaginate and create a brazilian Northeast as a space of traditions (iberians, jewishes, moorishes, africans) and also as an universe where the presence of the supernatural, of the fantastic, is very strong.
Esta dissertação é uma breve introdução à obra de uma das mais importantes dramaturgas da atualidade: Lourdes Ramalho (Maria de Lourdes Nunes Ramalho, Jardim do Seridó-RN, 1926). A sua produção literária para adultos (peças de teatro e/ou cordéis) foi pensada aqui considerando três aspectos que, relacionados, dão à sua escrita uma forma singular: as imagens e personagens arquetípicos do imaginário medieval europeu e do Nordeste do Brasil, o discurso regionalista firmado na cultura popular e o enfoque medieval ibérico sobre a cultura nordestina brasileira. Ao mesmo tempo, essas características colocam a autora em meio a uma extensa tradição literária que, ao longo do século XX, tentou encontrar uma identidade cultural para o Nordeste brasileiro. Existe ainda, neste estudo, a tentativa de aproximar o estilo da autora do realismo grotesco de François Rabelais, recorrendo às análises desse autor e estilo feitas pelo teórico da Literatura Mikhail Bakhtin. Em seguida, após uma discussão sobre a linguagem teatral, é mostrado como duas peças de Lourdes Ramalho (As velhas e Romance do conquistador) foram transpostas para o palco através das interpretações desses textos, feitas por um dos mais criativos diretores do teatro contemporâneo: Moncho Rodriguez (Vigo/Espanha, 1951). Essas encenações dos textos ramalhianos vêm reforçar a idéia de um Nordeste brasileiro ainda imerso em tradições e estéticas que remontam ao medievo ibérico. Ambos os artistas vêem, imaginam e criam um Nordeste brasileiro como espaço das tradições (ibéricas, judaicas, mouriscas, africanas) e também como um universo onde a presença do sobrenatural, do fantástico, é muito forte.
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McWilliams, S. J. "Magic and Possibility : Medievalism and the idea of the Occult." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527868.
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Clarkson, Peter. "Chivalry and medievalism in Cheltenham's Victorian public schools 1841-1918." Thesis, University of Bath, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275783.
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Whilst the chivalric aspect of public schools has received some academic attention, most notably from Mark Girouard in The Return to Camelot (1981) where he explored Clifton College, few authors have examined provincial public school architecture using an approach that goes beyond mere description. Girouard's work was the departure for my own thesis. There has been no adequate or full study of the influence of chivalry, its history and myths, on the architecture of public schools and the effect that the resulting Gothic ambience had on students. Previous studies concentrated exclusively on boys' schools; my thesis is the first study to contrast the effect of the chivalric myths between Cheltenham College (1841) and Cheltenham Ladies' College (1854), undeniably crucial exemplars of Victorian public schools. These schools were established in a formative period for modern Britain, a period of urbanism, educational revolution and religious revival - all of which have left an imprint on their architecture. The close physical proximity and foundation dates of the schools, their shared governors, architects and patrons, make them an appropriate, rewarding and self-contained case study. The provincial location of these schools has allowed their architecture to be overshadowed by their more illustrious cousins. I contend that both schools inhabit buildings of outstanding architectural importance deserving of attention.
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Heelan, Carla Melanie. "Origin and Antitype: Medievalism in Nineteenth-Century Germany, 1806-1914." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493307.
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This dissertation examines how the nineteenth-century engagement with medieval Europe changed modern Germany. Drawing from archival and printed primary material, I reconstruct how the Middle Ages gained new explanatory relevance as the origins of nineteenth-century German institutions and phenomena. I consider the historical interpretation of the medieval world at its broadest, not limited to scholarly debate, but also as it encompassed fiction, art, architecture, music, social science, law, and politics. Each chapter examines a figure drawn from these fields and each also moves chronologically through the century. I begin with the historian and statesman Barthold Niebuhr, who invoked the German Middle Ages as a source of patriotism and as an alternative to the Roman legal tradition. I next discuss the politician and architectural theorist August Reichensperger, who used the perceived regionalism of the medieval past as a means to resist Prussian centralization. My third chapter focuses on the intersection of historical research and fiction in the work of Victor von Scheffel, before I then turn to the role of the Medieval in Richard Wagner’s Ring cycle. The final chapter of my dissertation treats how assumptions about the medieval world affected the frameworks that early sociologists used.
I argue that nineteenth-century conceptions and uses of the Middle Ages retained mythical or profoundly transhistorical elements, even as historians and philologists made the period more historically legible. Furthermore, the protagonists of my dissertation read nineteenth-century categories and concerns onto the Middle Ages. Their agendas shaped perceptions of the past, and, more importantly, influenced the structures and norms of the nineteenth century. These five figures fundamentally believed, however, that their distortions accurately depicted the historical record. I attend to this belief, that their portrayals of the past were true, rather than purely opportunistic bids to shape the present. I conclude by exploring how only in the mid twentieth century did medieval historians – specifically, Ernst Kantorowicz – begin to examine the influence of nineteenth-century vocabularies and frameworks on the formation of their field.History
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Kennedy, Lance. "Supranational Union and New Medievalism: Forging a New Scottish State." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26519855.
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This study aims to understand why the Scottish National Party (SNP) accelerated to prominence after the establishment of the Scottish Parliament in 1999. Specifically, this study seeks to answer the following question: To what extent does the European Union (EU) influence the Scottish independence movement and does this trend support the theory of New Medievalism? Data drawn from interviews with members of the 4th Scottish Parliament, comments made by former First Minister Alex Salmond, and scientific polling tend to show that the EU’s increasing institutional powers have facilitated the modern Scottish independence movement’s growth by mitigating the Scottish people’s fears of independence from the UK. However the data also demonstrates that the SNP’s election victory in 2011 was not just an indication of Scottish nationalism, but was a result of the SNP’s competence in government. This investigation concludes that as the EU centralizes power in supranational bodies the process of New Medievalism is working its course by dissolving Westphalian nation states. This process is revealed in the rise of the modern Scottish nationalist movement as well as other subnational independence movements in EU member states. The culmination of this movement was the rise of the SNP and the 2014 Scottish independence referendum.
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Curran, Timothy M. "The Medievalizing Process: Religious Medievalism in Romantic and Victorian Literature." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7491.
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The Medievalizing Process: Religious Medievalism in Romantic and Victorian Literature posits religious medievalism as one among many critical paradigms through which we might better understand literary efforts to bring notions of sanctity back into the modern world. As a cultural and artistic practice, medievalism processes the loss of medieval forms of understanding in the modern imagination and resuscitates these lost forms in new and imaginative ways to serve the purposes of the present. My dissertation proposes religious medievalism as a critical method that decodes modern texts’ lamentations over a perceived loss of the sacred. My project locates textual moments in select works of John Keats, Lord Byron, Charles Dickens, and Oscar Wilde that reveal concern over the consequences of modern dualism. It examines the ways in which these texts participate in a process of rejoining to enchant a rationalistic epistemology that stymies transcendental unity. I identify the body of Christ, the central organizing principle of medieval devotion, as the cynosure of nineteenth-century religious medievalism. This body offers a non-dualistic alternative that retroactively undermines and heals Cartesian divisions of mind and body and Kantian distinctions between noumenal and knowable realities. Inscribing the dynamic contours of the medieval religious body into a text’s linguistic structure, a method I call the “medievalizing process,” underscores the spiritual dimensions of its reform efforts and throws into relief a distinctly religious, collective agenda that undergirds many nineteenth-century texts.
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Subiñà, i. Coll Enric 1970. "El Maresme medieval. Exemples concrets de comunitats pageses." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/401438.
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L'estudi es proposa una visió de la vida quotidiana dels veïns de les viles de Mataró, d'Argentona i d'Òrrius, des de mitjans del segle XIV a finals del segle XV, partint de tres aspectes fonamentals per explicar-ho: la senyoria i els drets dominicals, el poblament i la societat.
El primer capítol comença amb una breu introducció a la demografia de les tres parròquies que ha permès veure com Mataró augmentava molt la seva població en contrast amb Argentona i Òrrius on decreix lleugerament. S’ennumeren totes les senyories que hi havia, constatant una gran fragmentació senyorial pel que fa a la senyoria territorial, no la jurisdiccional que estava en mans dels castells respectius.
La servitud i els mals usos, ens servirà per endinsar-nos en els remences, que sembla que representaven poc menys de la meitat dels habitants del territori durant la segona meitat del segle XIV. La senyoria comportava una sèrie d'exaccions i impostos senyorials, d'entre les quals destaca el lluïsme, el delme o el lloçol. Els censos emfitèutics era un altre de les rendes que es pagaven, principalment en espècie, malgrat que a mesura que anava avançant el segle XIV i el XV molts es van convertir en diner. Es tracten els destrets senyorials, els principals dels quals eren els molins i les ferreries, però també les escrivanies, el forn, el mercat, especialment important i dinàmic a Mataró, la carnisseria, i la pesca. Al territori, la totalitat del quatre molins d’aigua documentats es trobaven a la conca de la Riera d’Argentona. A Mataró, amb poca aigua, es va optar per construir un molí de vent a mitjan segle XV.
Tot aquest territori estava poblat, bàsicament, de masos, sobretot a Argentona i a Òrrius. En canvi, Mataró va anar evolucionant, amb un poblament dispers predominant fins ben entrada la segona meitat del segle XIV, per acabar amb una gran majoria de focs "urbans" a finals del segle XV. Després de mitjans del segle XIV detectem un augment molt significatiu de les vendes de masos en detriment de la construcció de masies de nova planta. Els masos rònecs és un dels aspectes que hem pogut documentar més bé, i que dóna testimoni del que va
representar el fenomen per al territori. Molts masos restaren abandonats abans de mitjans segle XIV, per bé que el seu procés d'enrunament s'aniria allargant, depenent dels casos, fins ben entrat el segle XV. Molts pagesos els van incorporar al seu patrimoni mitjançant compra o establiment, evidentment en condicions molt avantatjoses per part dels senyors. Pel que fa als preus dels masos, molt variables, sembla que tenien com a factor més determinant les càrregues que satisfeien en detriment del seu estat físic. L'estudi també confirma que els masos sovint tenien terres sota domini de diferents senyories, alhora que aquestes terres estaven molt fragmentades pel territori, documentant-se masos d'Argentona que tenien terres fins a set quilòmetres de la masia.
La darrera part del capítol la dediquem al poblament agrupat, força destacat a Mataró, amb un gran impuls a finals del segle XIV i durant gran part del segle XV, amb la plaça del mercat com a eix central, amb el pou i forns comunals, les carnisseries i les botigues porticades.
El darrer capítol es centra bàsicament en la família, en dos aspectes: el matrimoni i la mort. Veurem les estratègies matrimonials, on els cònjuges sovint trobaven la parella en la població d’origen o en la comarca, què representava la llegítima, i sobretot, què valia un dot.
Un dels aspectes que permet conèixer millor l'entorn religiós del testador són els llegats religiosos, amb la qual cosa podem endinsar-nos en les esglésies i capelles de cada parròquia i conèixer, entre d'altres, els seus altars. Els llegats familiars ens apropen al seu entorn familiar. Clourem amb el paper i la importància de l'hereu o la pubilla i amb la clàusula final: l'hereu universal.The purpose of this thesis/research is to have a vision of the residents’ routine life in Mataró, Argentona and Òrrius, from mid XIV century till end of XV Century. This research is based in three fundamental facts to explain it: the manor, the population and the society. The demography has allowed us to see how Mataró was rapidly increasing its population against Argentona and Òrrius where it was declining. We have documented a high amount of territorial manors, being the jurisdictional manors in hands of their own castles. During the second half of XIV Century, the "remences" (servile people) represented half of the territory’s population. The manor implied some sort of rights and for the payment of taxes. The census where paid mainly in kind, although, while years were passing by, this will turn into money. Among the manors rights we emphasize the mills and iron mongeries, but also the scribes, stoves, markets and meat shops. All the territory was populated, mainly with farms. Mataró since the second half of XVI Century, have experimented an urban growth surrounding the market square where it was located the water well, the communal stoves, the meat shops and the arcade stores. Some of the facts we have been able to document properly are the abandoned farms, which started on the XIII Century. Many farmers have taken the farms to their heritage buying them either through establishment which were always under advantageous conditions for the sirs. The farms usually have lands under the dominion of various manors and were fragmented around the territory, sometimes without territorial continuity. The last chapter is mainly based on the family, in two important facts: marriage and death. We've studied the dowry and the territorial origins of the consorts and spouses. Thanks to the will/testament we know about the religious environment of the testators being able to going deeper among the churches and chapels of each parish and acknowledge the altars. The family legacy is taking us closer to the family core. This research ends explaining the role and the relevance of the male heirs and the 'pubillas' (the female version of the male heir, the eldest daughter) and with the last review: the universal heir.
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Junior, Jonas Alves da Silva. "Doces modinhas pra Iaiá, buliçosos lundus pra Ioiô: poesia romântica e música popular no Brasil do século XIX." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-23082007-135330/.
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A dissertação versa sobre as relações entre poesia e música no século XIX, bem como sobre a produção poético-musical resultante dessa união. O argumento central é o de que os poetas românticos foram colher inspiração no medievalismo europeu na só para a construção de uma mitologia nacional (indianismo), mas também para a concepção de uma arte única, pautada por essa aliança entre poesia e música nos moldes trovadorescos. Essa conexão foi além da musicalidade implícita na poética do período. Alguns românticos, tal como os trovadores, buscaram integrar as duas artes a partir de poemas escritos especialmente para serem musicados e apresentados em circunstâncias performáticas. Assim, nasceu, no Brasil, a parceria: um poeta produzindo a letra e um compositor musicando-a. A prática de fundir essas duas manifestações artísticas num todo único iniciada pelos trovadores teve continuidade em alguns poetas românticos, principalmente os que freqüentaram a tipografia do editor Paula Brito, fundador da conhecida Sociedade Petalógica do Rossio Grande. Das reuniões dessa sociedade resultaram diversos poemas musicados em forma de modinha ou lundu, examinados aqui de modo a evidenciar os temas recorrentes, bem como as imagens e metáforas musicais neles presentes. Essa aliança trouxe popularidade e novo alento, tanto para a música popular, quanto para a poesia brasileira que encontrou nessa aliança um meio de difusão que suprisse a carência de um público letrado.This dissertation examines the relations between poetry and music in the nineteenth century, as well as the poetic-musical production which results from this union. The central argument is that romantic poets took inspiration from european medievalism not only for building a national mythology (indianism) but also for the conception of an unique art form, ruled by this alliance between poetry and music in the troubadourish models. This connection went beyond the implicit musicality of that era\'s poetry. Some romantic poets, as troubadours, wanted to integrate both arts from poems specially written to be set to music and presented in performance venues. Thus, the partnership was born in Brazil: poets started to create lyrics and composers set them to music. The practice of blending these two artistic manifestations in only one, initiated by the troubadours, had continuity with some romantic poets, mainly those who attended the editor Paula Brito\'s typography, founder of the well known Sociedade Petalógica do Rossio Grande. From these meetings came several poems set to music in form of modinha or lundu examinated here in order to portray the recurrent themes, as well as images and musical metaphors existing in them. This alliance brought popularity and enthusiasm for the popular music as for the Brazilian poetry, which found in this alliance a way of diffusion that would supply the need of the scholarly public.
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Wyatt, Corwyn Thomas. "Medievalism in German folk rock: Mittelalter's wild imagining of the Middle Ages." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21280.
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Thesis (M.M.)This thesis explores the role played by medieval images, music, and poetry in the Mittelalter movement of German folk rock in order to uncover its ideological underpinnings and comment on its artistic and social value. This is achieved through analysis of select recordings, music videos, and interviews with Mittelalter artists, as well as "digital ethnography" carried out on fan forums dedicated to Mittelalter bands. It is determined that the movement as a whole has a strong liberal bias and is less concerned with portraying historical accuracy than it is in championing individual freedom, growth, and tolerance. This thesis concludes that its artistic value varies widely but that its great value lies in the culture of collaborative creativity it fosters.
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Ward, Antonia. "'Odd prefaces' : Frederick James Furnivall and masculinity in Victorian scholarship." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14039/.
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Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.
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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.
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Swanson, Hernández Rebeca. "Tradicions i transmissions iconogràfiques dels manuscrits de la Ribagorça entre els segles X – XII." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401465.
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La diòcesi de la Ribagorça i en concret la seva seu, Roda d’Isàvena, han sigut des de inicis del segle XX un focus d’estudi important pels historiadors de l’art, atès que els seus bisbes són els promotors de significatius vestigis d’art monumental. Anàlogament, és una diòcesi intensament estudiada també des d’un punt de vista històric ja des del segle XVI. Tanmateix però, poc se sap en referència a la seva complexitat cultural.
En conseqüència, la present recerca es planteja com una reconstrucció de la vida cultural de la diòcesi, i particularment de la biblioteca catedralícia de la seva seu, per tal de comprendre quines inquietuds existeixen darrera d’aquestes manifestacions artístiques, plantejant tanmateix, un millor coneixement dels diversos esdeveniments històrics succeïts entre els segles X i XII.
Els arguments, desenvolupats de manera crítica i objectiva, ens situen davant d’una seu de l’edat mitjana que formava part d’una extensa xarxa cultural per on confluïen persones, idees, llibres, pràctiques litúrgiques i formes artístiques. Es demostra com l’intercanvi de coneixement és una de les característiques més determinants de la seu ribagorçana de Roda d’Isàvena. Així mateix, la present recerca ofereix per primera vegada un catàleg complert dels diferents manuscrits que van formar part la biblioteca catedralícia.The diocese of Ribagorça and in particular its See, Roda d’Isàvena, has been a main research topic by art historians since the early twentieth century because its bishops were the promoters of significant preserved monumental art works. Similarly, and since the sixteenth century, the diocese has also been intensively studied from a historical point of view. However, little is known regarding its cultural complexity. Therefore, the following investigation is conceived as a reconstruction of the cultural life of the diocese, particularly of the See’s cathedral library, in order to understand the concerns behind the several artistic evidences, providing also, a better understanding for the various historical events occurred between the X and XII centuries. The in-depth research, developed in a critical and impartial way, reveals that the studied medieval See was part of an extensive cultural network where people, ideas, books, liturgical practices and art works were intimately intertwined. It is stated how the exchange of knowledge is one of the most significant features the See of Roda of Isábena. Additionally, a complete catalogue of the several manuscripts comprised within the cathedral library is also provided for the first time.
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Byers, Kevin Byers. "Folk kan synge hit bet than I : the medievalism of English folkmusic, 1750-2013." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669665.
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In this thesis, I examine the ways in which English folkmusic has interacted with medievalism from the eighteenth century to the present day. In Chapter 1, I use the story of how Thomas Percy discovered his famous manuscript as a frame for exploring the history of folkmusic from the Middle Ages to the eighteenth century and the medieval discourses employed by editors of folksong such as Thomas Percy and Francis James Child. In Chapter 2, I examine the activities of the first folk revival and its cultural influence from the late 1800s to the end of the First World War, with particular attention to the work of Lucy Broadwood, Sabine Baring-Gould, Ralph Vaughan Williams and Cecil Sharp. In Chapter 3 I explore the impact of folkmusic on English culture in the aftermath of the First World War, considering the importance of folkmusic and medievalism to F. R. Leavis and the Scmti'!)l movement, as well as in the pageant form, in both literature and film. In Chapter 4 I look at the origins of the second folk revival in the activities of Fascists and Communists from the 1920s to . the 1940s, paying particular attention to the work of Rolf Gardiner and A. L. lloyd. In Chapter 5, I explore the ways in which folkmusic and medievalism intertwined in the work of musicians such as Shirley and Dolly Collins and Steeleye Span in the 1960s and 1970s and discuss the importance of follmmsic in the depiction of the Middle Ages on film and television. In Chapter 6, I examine the exploitation of the Middle Ages by folkmusicians in the 1980s for historical precedents to contemporary political concerns. In Chapter 7, I consider the impact of remix culture on the interaction of folkmusic and medievalism from the 1990s to the present day.
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Goebel, Stefan. "Medievalism in the commemoration of the Great War in Britain and Germany, 1914-1939." Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/272136.
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Christer, Lidén. "The quest for medievalism in ‘The Witcher 3’ : A study of the vita gravis: the apposition between the medieval and the fantastical." Thesis, Stockholms universitet, Historiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-139214.
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Nappo, Sami Argentino. "De tabardo e espada em punho : consumo, memória e medievalismo em grupo juvenil praticante de boffering." Escola Superior de Propaganda e Marketing, 2017. http://tede2.espm.br/handle/tede/280.
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This research has as theme the Boffering, a youth practice of fighting using medieval-inspired weapons and the (re) creation of the Middle Ages. For this, it is not only understood as a game, but also as a communicative, sociocultural and consumer practice that makes use of performance and rituals. The theoretical object concerns the articulations between the consumption of media narratives, ritualistic and performative processes present in the construction of the memory of medievalism. The Draikaner youth group is an empirical object. The general objective is to examine the construction of memory of a possible medieval generated by the practice of boffering, in the light of the semiotics of the culture of Tártu Moscou. The secondary ones are: to deepen the knowledge of Draikaner and its practice; discuss the consumption of media narratives and materials present in the group; understand the relations between consumer practices (the media narratives and boffering itself) and the Middle Ages. The questioning of how the memory of an era that they have not lived is built on and which influences them to the point of developing a practice inspired by the Middle Ages, supposing that this practice also serves as a "place" of consumption, ritualization and construction of subjectivities, guided this research. The corpus includes field observations, analyzing the material and symbolic signs that are present in Draikaner practice, interviews with members, as well as bibliographic material. For this study the flanêrie, by Mclaren (2000), was chosen as methodology applied to the first approximations with the group, together with the analysis of the interviews carried out later in another space, field observations and bibliographic research. The work is based on the theoretical assumptions of authors such as: Iúri Lótman, Hilário Franco, Umberto Eco, Roger Siverstone, Rose Rocha, Maurice Halbwachs, Johan Huizinga, Roger Caillois, Martine Segalen, João Machado Pais, Michel Maffesoli and Mônica Nunes, among others . It is hoped to demonstrate that through the process of semiosis these young people create new meanings and with this they conceive a new semiosphere aimed at (re) creation of the Middle Ages, through a practice that can be understood as a game and a performance and by ritual processes that they experience.
Esta pesquisa tem como tema o Boffering, uma prática juvenil de combates usando armas de inspiração medieval e a (re)criação da Idade Média. Para tanto ele (o boffering) não é entendido somente como um jogo, mas também como uma prática comunicativa, sociocultural e de consumo que faz uso da performance e de rituais. O objeto teórico diz respeito às articulações entre consumo de narrativas midiáticas, processos ritualísticos e performáticos presentes na construção da memória do medievalismo. O grupo juvenil Draikaner constitui-se como objeto empírico. O objetivo geral é examinar a construção da memória de um medieval possível gerado pela prática do boffering, à luz da semiótica da cultura de Tártu Moscou. Os secundários são: aprofundar o conhecimento do Draikaner e sua prática; discutir o consumo das narrativas midiáticas e de materiais presentes no grupo; entender as relações entre as práticas de consumo (as narrativas midiáticas e o próprio boffering) e a Idade Média. O questionamento de como é construída a memória de uma época que eles não viveram e que os influencia a ponto de desenvolverem uma prática inspirada na Idade Média, supondo que essa prática também serve como '‘local’' de consumo, de ritualização e de construção de subjetividades, norteou essa pesquisa. O corpus inclui as observações de campo, analisando os signos materiais e simbólicos que estão presentes na prática do Draikaner, entrevistas com membros, além do material bibliográfico. Para esse estudo foi escolhida a flanêrie, de Mclaren (2000), como metodologia aplicada às primeiras aproximações com o grupo, somada à análise das entrevistas realizadas posteriormente em outro espaço, às observações de campo e à pesquisa bibliográfica. O trabalho está fundamentado em pressupostos teóricos de autores como: Iúri Lótman, Hilário Franco, Umberto Eco, Roger Siverstone, Rose Rocha, Maurice Halbwachs, Johan Huizinga, Roger Caillois, Martine Segalen, João Machado Pais, Michel Maffesoli e Mônica Nunes, entre outros. Espera-se demonstrar que através do processo de semiose esses jovens criam novos significados e com isso concebem uma nova semiosfera voltada à (re)criação da Idade Média, através de uma prática que pode ser entendida como um jogo e uma performance e pelos processos rituais que experienciam.
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Duckworth, Melanie Ruth. "Medievalism and the language of belonging in selected works of Les Murray, Randolph Stow, Francis Webb and Kevin Hart." Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507690.
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Piñol, Roser. "La creació i manipulació del patrimoni l’estudi del romànic català a partir de les intervencions de conservació del Brodat de la Creació de la Catedral de Girona." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/404251.
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El Brodat de la Creació de la Catedral de Girona és una obra cabdal del romànic de reconegut mèrit històric, artístic i cultural. A la vegada és un referent identitari de Catalunya i un motiu d’orgull entre els gironins, que l’han sabut conservar des que va ser redescobert, entre parracs, en el decurs dels anys setanta del segle XIX. El motiu de retrobament es degué a motius diversos, que rauen entre els plantejaments epistemològics de l’arqueologia medieval, fins postures més pragmàtiques properes a l’aplicació de patrons per a les indústries artístiques, el col·leccionisme o les modes.
Des d’aquesta data, el Brodat s’ha sotmès a cinc intervencions de restauració. Cadascuna respon a uns postulats científics concrets, que han afectat al teixit des del punt de vista físic però també en la interpretació que li ha atorgat la recerca historiogràfica.
La primera intervenció va ser l’any 1876. Es desconeixen els motius ni en què va consistir. Aquest fet clau va detonar reaccions immediates a través de publicacions que van tenir com a objectiu donar a conèixer una obra insòlita medieval, alhora que es van començar a plantejar dubtes sobre l’origen, la cronologia i la iconografia. Un cop reconegut el valor arqueològic de l’obra, es va començar a exhibir. L’Exposició Universal de Barcelona (1888), la Històrico-europea de Madrid (1892) i la d’Art Antic de Barcelona (1902) van servir per divulgar la peça,
El 1907 es va tornar a restaurar, fruit de les remodelacions de l’espai que el custodiava, les Sales Capitulars de la Catedral de Girona. El motiu va ser la incorporació d’alguns fragments que s’havien trobat dispersos a la catedral, però també va respondre a l’expectació que la peça va crear en l’exposició de 1902, tant pel se valor de teixit històric, com per respondre a les necessitats de definició dels elements simbòlics de la identitat catalana. El Brodat de la Creació va començar a adquirir a partir d’aquestes dates connotacions patrimonials, encara que en aquests anys incipients de definició de la cultura catalana va ser apreciat només per erudits com Josep Gudiol Cunill primer, i per Joaquim Folch i Torres després. Tots dos investigadors, interessats pels teixits medievals, van atorgar al Brodat un lloc mereixedor en la història de l’art romànic català.
Els plantejaments i la sensibilitat d’aquesta primera historiografia del romànic nacional es veuran reflectits en la tercera actuació de l’any 1952, que va seguir un criteri arqueològic atenent el valor històric del teixit. Uns anys abans, entre els anys 1936-1939, la Generalitat de Catalunya va traslladar-lo a París durant la campanya de salvament i exhibició d’obres representatives de l’art català dels segles X al XV, on va restar fins l’any 1939 quan el govern franquista el va retornar al seu lloc d’origen. A França el Brodat va gaudir de merescut reconeixement internacional.
El 1976 es va restaurar de nou, en motiu de la transformació de l’espai museístic del Tresor de la Catedral. La prioritat museogràfics va condicionar la intervenció, agressiva i il·lusionista. La imatge del Crist en Majestat del centre del brodat, totalment reconstruïda, ha estat la imatge més reproduïda del Brodat, base de recerques i de màrqueting.
Finalment, el brodat s’ha sotmès a una darrera intervenció, patrocinada pel programa Romànic Obert del Departament de Cultura de la Generalitat de Catalunya i la Fundació La Caixa. La intervenció, mediàtica, i amb auxili de recerques amb mètodes científics sofisticats un comitè d’experts i per un equip de restauradors de prestigi ha plantejat noves hipòtesis sobre el brodat, cada cop més visitat i cada cop més reconegut, amb els pros i contres que això suposa.The Creation embroidery of the Gerona Cathedral is a universal work of romanesque art of great merit in the history of medieval tissues. At the same time it has also become reference for the identity of Catalonia and a reason of pride for the inhabitants of Gerona, city that keeps it and that has conserved it meritoriously since it was found among old rags at the end of 19th century. The reason for its rediscovery and immediate restoration responds to several conditions such as the search for parameters of scientific analysis by medieval archeology, alongside with the advances in the study of decorative arts and collecting. Since then, the artwork piece has been subjected to five restoration interventions. Each of them responds to a philosophy of intervention and several epistemological postulates that have affected not only the constituent material of the work but also the interpretation that has been given by the historiography of art. The first intervention, that took place in the year 1876, corresponds to the beginnings of revaluation of Romanesque art and historical fabrics. The second one, in 1907, parallels the definition of Catalan art and in particulary the Romanesque style from an identity point of view. The third and fourth, from 1952 and 1975 respectively, respond to purely museographic criteria. The last one, completed in 2011, followed museographic, political and social criteria. In order to interpret the restoration operation as a social and interdisciplinary endeavour is essencial to understand the meaning of this embroidery as a significant cultural asset of Catalan Romanesque Art.
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Bickley, Pamela Carol. "Rossetti's 'Tributary Art' : medievalism and aesthetic interdependence in the writing of Dante Gabriel Rossetti with some reference to his visual art." Thesis, Royal Holloway, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251359.
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Broome, Saunders Clare. "Re-reading the legend : medievalism as a discourse of empowerment in the work of women writers and artists, circa 1830-1900." Thesis, Durham University, 2005. http://etheses.dur.ac.uk/1811/.
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Haigh, Stephen Paul, and n/a. "Globalization and the state : towards a neo-medieval political order?" University of Otago. Department of Political Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080514.111752.
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The system of states that now covers the planet did not arise out of thin air; rather it was the product of historical forces that gradually coalesced around the state form. But the dynamics of that process no longer obtain. In their place, a new, highly complex amalgam of material and ideational forces is now in the ascendant -- and its arrival has serious implications for traditionally configured, "Westphalian" states.
Understood as ("thick") globalization, this interlocking array of political, economic, social and cultural forces challenges the old order at two key points. First, traditional states had "hard shells," by means of which they were capable of consolidating differences between �inside� and �outside� to the point where the latter could more easily be quarantined. Second, for closely related reasons they were largely able to "absorb" domestic society, such that the individual was less a citizen than (s)he was a subject. But these (dubious) capabilities have been severely exposed and eroded, which leads us to ask, "Whither the state under globalization?" My thesis constitutes a sustained attempt to answer this question.
The theme is a large one - and I believe that to be adequately treated, large themes require a varied approach. First, in terms of theory this means that I borrow from a significant diversity of recognized �Schools� within the discipline of International Relations. Second, in terms of method I follow a similarly pluralist line. Broadly speaking, the work is interpretive as opposed to explanatory, which is to concede that one cannot be �purely� scientific while standing inside the phenomena one wishes to examine. On the other hand, this forecloses neither the scientific method nor its guiding spirit. With respect to states and the international system, we can still be "scientific realists:" states are real structures whose nature can legitimately be approximated through sciences. In sum, I cleave to a sort of methodological middle ground between science and interpretation, taking from each in the measure that they advance the discussion. Third, in terms of normative intent my chief concern is with the way things are; but as it turns out, the way things are increasingly includes the way they ought to be. In other words, the ontology of our globalizing world is increasingly deontological in texture.
This may sound contradictory. Nevertheless, the spread of universal norms - and of equally universal ordering principles, or patterns of global organization - has undeniable repercussions for the relationship between is and ought. In turn, the implications for states are profound. The answer to my central question, "Wither the state under globalization?" is this: we are now on the threshold of a neo-medieval era of segmented political authority. Centrally nested within this new order is the embedded cosmopolitan state, wherein universal and particular aspects of being can now be fully reconciled.
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Cecire, Maria Sachiko. "The Oxford School of children's fantasy literature : medieval afterlives and the production of culture." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:782b7491-c1fd-473f-9118-6890156013fc.
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This thesis names the Oxford School of children’s fantasy literature as arising from the educational milieu of the University of Oxford’s English School during the mid-twentieth century. It argues that J.R.R. Tolkien and C.S. Lewis lay the foundations for the children’s fantasy genre by introducing an English curriculum at Oxford in 1931 (first examined 1933) that required extensive study in medieval literature, and by modelling the use of medieval source material in their own popular children’s fantasy works. The Oxford School’s creative use of its sources produces medieval ‘afterlives,’ lending the Middle Ages new relevance in popular culture. This research directly compares medieval literature to children’s fantasy works by Tolkien, Lewis, and four other Oxford-educated children’s fantasy authors in order to reveal the genre’s debt to actual medieval texts and to the Oxford English syllabus in particular. The four authors are Susan Cooper, Kevin Crossley-Holland, Diana Wynne Jones, and Philip Pullman. This thesis situates the tendencies of medievalised children’s fantasy in relation to Lewis and Tolkien’s personal and scholarly convictions about the patriotic, moral, and aesthetic qualities of medieval literature and folklore. Building on the theories of Michel de Certeau, this thesis demonstrates how Oxford School fantasy produces new mythologies for England and argues that, as children’s literature, these works have an implicit didactic function that echoes that of the English School curriculum. This thesis traces the attempts of some Oxford School authors to navigate or explode generic conventions by drawing upon new source material, and contends that the structures and hierarchies that underpin the genre reassert themselves even in texts that set out to refute them. It suggests that such returns to the norm can produce pleasure and invite diverse reading, growing out of the intertextual associations of each new rewriting.
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Cowan, Yuri Allen. "William Morris and the Middle Ages : two socialist dream-visions /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ55498.pdf.
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Rokukawa, Yuko. "Écriture de la pureté dans l’œuvre d’Anatole France." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20066/document.
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Alors qu’Anatole France (1844–1924) est considéré comme écrivain sceptique et ironique, un de ses contes intitulé « Le Jongleur de Notre-Dame » échappe à une telle définition. Le ton pieux et sincère de ce conte, fondé sur une légende du Moyen Âge, semble aller à l’encontre du scepticisme, de l’anticléricalisme, et du classicisme déclarés de l’auteur. Au lieu de tenir pour exceptionnels ce type de textes qui mettent en scène une forme de « pureté » dans un sens religieux, tenter de les intégrer dans l’œuvre d’A. France permettra de découvrir une nouvelle facette de l’écrivain, et d’appréhender son idée et son œuvre dans une complexité et une profondeur qui sont cachées sous une apparence simple. Dans un premier temps, on mettra en relation les thèmes médiévaux chez A. France et la mode du médiévisme au XIXe siècle, tant dans le domaine scientifique que dans le courant littéraire, afin d’éclairer l’influence de son époque sur son image médiévale, et la signification de cette image. Dans un deuxième temps, on traitera de la pratique de la réécriture. Par une comparaison, d’une part, entre les textes d’A. France et leurs hypotextes, et d’autre part, entre la réécriture francienne et la réécriture chez les écrivains contemporains, on précisera les caractéristiques et les procédés de la réécriture de notre écrivain. En outre, on montrera que la mise en cadre, ainsi que la réécriture, s’impose dans ses textes, soulignant ainsi la modestie de l’auteur, et la diminution de l’autorité auctoriale. Toutes ces analyses révèleront l’importance de la « simplicité » qui apparaît à plusieurs niveaux dans les textes franciens, et qui peut donner accès à une « pureté » harmonieuseWhile Anatole France (1844–1924) is considered a skeptical, ironic writer, one of his short stories, entitled “Le Jongleur de Notre-Dame” can not easily be reduced to such a reading. Instead, it is a pious and sincere story based on a legend from the Middle Ages – a perspective contradictory to his skepticism, anticlericalism, and classicism. Rather than counting as exceptional cases texts like this that portray “purity” in a religious sense, an attempt to integrate them into the overall view of the works of A. France will enable us to discover a new side to the writer and apprehend his ideas and his works in a complexity and depth that are hidden under simple surface appearances. As a first step, we connect the medieval themes of A. France with the medievalist movement of the 19th century, seen in both historical study and literature, in order to clarify the influence of his times on his image of the Middle Ages, and the meaning of that image. As a second step, we consider the practice of rewriting. By comparing the texts of A. France with their sources, and comparing rewriting of those sources by A. France with rewriting of similar sources by his contemporaries, we identify A. France’s method of rewriting and the characteristics of the product. In addition, we find that the use of “frame story” narration is as necessary as rewriting in the texts of A. France, serving to accentuate the modesty of the author and as a result affecting a decrease in authorial authority. All these analyses reveal the importance of the “simplicity” that appears at several levels in the texts of A. France, and which can give access to the harmonious “purity”
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Pavlevski-Malingre, Joanna. "Melusigne, Merlusine, Melusina : fortunes politiques d’une figure mythique du Moyen Âge au XXIe siècle." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20056.
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Il peut sembler étonnant de consacrer une étude d’ampleur aux fortunes politiques d’une fée médiévale, d’une part parce qu’il est habituel de distinguer merveilleux et politique - alors que le recours au merveilleux est courant pour légitimer un pouvoir ou pour fonder une communauté politique -, et d’autre part parce que la branche maîtresse de la lignée desLusignan, dont Mélusine est l’ancêtre mythique, est éteinte depuis 1308. Pourtant, étonnamment, Mélusine, merveille suscitant des interprétations et représentations contrastées, entre dans des dynamiques politiques multiples. Dès le Moyen Âge, elle incarne des fortunes diverses, l’essor et le déclin de la lignée des Lusignan, qu’elle justifie.Instrumentalisée à des fins de domination, de légitimation et pour célébrer une mémoire lignagère dans les romans médiévaux de Jean d’Arras (1393) et Coudrette (c.1401), Mélusine s’impose au fil des siècles comme la Merlusine, la mère des Lusignan, mais aussi d’autres lignées aristocratiques, par le biais de textes littéraires, paralittéraires etd’armoiries. Parallèlement, dès le Moyen Âge, mais de façon accrue depuis le XXe siècle, cette figure lignagère est défigurée, ses enjeux sont déplacés, et Mélusine peut ainsi informer des questionnements identitaires divers, relatifs à une classe sociale ou à un individu, à la Nation ou à l’affirmation d’idées féministesIt can seam surprising to dedicate such a consistent study to political sorts of a medieval fairy, on the one hand because it is common to differentiate fantasy and politics — whereas the appeal to fantasy is common to legitimate a power or to build a political community —, and on the other hand because the main branch of the Lusignan lineage, of which Mélusine is the mythical ancestor, has been exctincted since 1308. However, surprisingly, Mélusine, a marvel drawing contrasted understandings and representations, falls into multiple political dynamics. As early as the Middle Age, Mélusine incarnates diverse sorts : the expansion and the decline of the Lusignan lineage that she justifies. Manipulated for domination andlegitimation purposes, as well as to celebrate a lineage memory explored in medieval novels by Jean d’Arras (1393) and Coudrette (c.1401), Mélusine establishes herself over the centuries through literary and paraliterary texts and coats of arms as the Merlusine, the mother of the Lusignan, but also the mother of other aristocratic lineages. At the same time, from the Middle Age onwards, but in an increased way since the 20th century, this lineage figure has been disfigured, its goals have been displaced, and Mélusine can respond to multiple identity questionings related to a social class or an individual, to the Nation or to the assertion of feminist ideas
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Bobo, Kirsti A. "Representations of Anglo-Saxon England in Children's Literature." BYU ScholarsArchive, 2004. https://scholarsarchive.byu.edu/etd/228.
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This thesis surveys the children's literary accounts of Anglo-Saxon history and literature that have been written since the mid-nineteenth century. Authors of different ages emphasize different aspects of Anglo-Saxon culture as societal need for and interpretation of the past change. In studying these changes, I show not only why children's authors would choose to depict the Saxons in their writing, but why medievalists would want to study the resulting literature.
My second chapter looks at children's historical fiction and nonfiction, charting the trends which appear in the literature written between 1850 and the present day. I survey the changes made in authors' representations of Anglo-Saxon England as children's publication trends have changed. I show how these changes are closely related to the changes made in popular conceptions of the past. My third chapter discusses the way in which children's retellings of Beowulf have placed the poem into a less culturally-dependent, more universal setting as they have separated the tale from its linguistic and cultural heritage. Children's authors have gradually removed the poem's poetic and linguistic devices and other cultural elements from their retellings, instead favoring a more courtly medieval setting, or even a generic universal one.
Children's literature is an important indicator of the societal values contemporary with its publication. Authors and publishers often write the literature to reflect their own ideologies and agendas more openly in children's literature than in other literature. As I show in this thesis, the attitudes toward Anglo-Saxon England which pervade children's literature of any age make it a particularly useful tool to those scholars interested in the study of popular reception of the Middle Ages.
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Maršálek, Marie-Anne. "La réinvention du Moyen âge sur les scènes lyriques parisiennes entre 1810 et 1830 : genèse, contours et circulation vers l’Italie et l’Allemagne d’un imaginaire français." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20034/document.
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Cette thèse, inscrite dans le cadre méthodologique de l’histoire des représentations, vise à identifier les caractéristiques littéraires, visuelles et musicales de l’imaginaire médiévaliste inventé par le genre de l’opéra-comique français entre 1810 et 1830. Ces années correspondent à une tranche de vie privilégiée de l’imaginaire, celle de son épanouissement et de sa parfaite lisibilité. L’imaginaire se révèle aujourd’hui sur le mode de reflets d’une sensibilité désormais évaporée. Ses contours, conditionnés par l’impératif de la couleur locale, sont précisés au moyen d’une pluricité de méthodes : la prise en compte des conventions de l’opéra-comique, le recoupement d‘oeuvres – livrets, scénographie, partitions –, l’étude de la presse et du regard parodique qui lui est porté a posteriori. L’ensemble des informations collectées mène aux motifs médiévalistes d’opéra-comique, parmi lesquels une bande-son médiévaliste.Le défi méthodologique de cette thèse tient à sa démarche pluridisciplinaire, qui associe étroitement l’opéra-comique à son contexte. L’idée selon laquelle la musique ne prend son sens et sa couleur que dans un cadre imaginaire sous-tend cette approche. Parmi les autres pans médiévalistes de la culture d’époque, les romans de Charles Prévost d’Arlincourt constituent le socle de comparaison le plus précieux.C’est sur fond d’altérité que les contours du médiévalisme se dégagent le mieux, notamment par sa mise en regard avec ce qu’il devient en Italie et en Allemagne, dans le cadre d’adaptations. Si certaines intrigues françaises médiévalistes sont reprises à l’étranger, des motifs pourtant essentiels à la couleur locale en France restent intraduisibles et interdisent d’évoquer un style médiévaliste européen de l’art lyrique. En revanche, à l’heure où chaque pays se cherche une identité, certaines références européennes se retrouvent bel et bien d’une scène à l’autreThis thesis is rooted in the methodological framework of the history of representations. It aims to identify the literary, visual and musical features of the medievalist imaginary invented in the French opéra-comique between 1810 and 1830. The imaginary now only appears through the reflections of an evaporated sensitivity and through discontinuous hintsthat need to be reassembled.Thus the characteristics of this imaginary conditioned by the couleur locale emerge from the combination of several methods: the comparison of several opéras-comiques – taking into account their booklets, set designs and scores –, the study of the Parisian press and investigation of parodic manifestations of the medievalism in the years that followed.The methodological challenge consists in a multidisciplinary approach, which tightly binds the opéra-comique with its context. The idea that music only acquires its meaning and color in an imaginary framework underpins this approach. Among the other French medievalist aspects considered, Charles Prévost Arlincourt’s novel provide the most valuableway to clarify the lyrical imaginary.The comparison with adaptations and translations of French medievalist plots in Italy and in Germany is one of the best way to identify the characteristics of the imaginary. Thus this study does not identify a European style but rather reveals some untranslatable components in the wake of French medievalist intrigues. However, at the time when each country is seeking roots and identity, some European references emerge in the context of the lyrical medievalism
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Natishan, Georgia Kathryn. "Returning the King: the Medieval King in Modern Fantasy." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32346.
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In an interview with Hy Bender, Neil Gaiman states, â We have the right, and the obligation, to tell old stories in our own ways, because they are our stories.â While fantasy stands apart from other types of fiction, it still provides a particular kind of commentary on the culture/time it is being created in, often by toying with older themes and conventions. Stories of the quest for kingship tend to fall by the wayside in favor of the â unlikely heroâ tale. While the kingâ s story is not always vastly different from that of the hero, there are some key points that need to be taken into consideration. Unlike many heroes, especially in the modern sense, kings (whether recognized at first or not) are born for the duty they must eventually fulfill. A hero may be unaware of the problem at first or later reluctant to engage it; more often than not in tales of kingship there is a deep awareness of the problem and the knowledge of their potential in solving it. There is always a sense of inherent purpose and destiny: they must undertake quests in order to legitimize themselves and their power â their right to rule. These stories bear a similar structure and shared themes that can be found in medieval sources as well as earlier myths.
Tales of kingship in modern fiction, specifically in the work of Neil Gaiman (The Sandman) and George R. R. Martin (A Game of Thrones), are similar to the medieval models, as kingship and the requirements of kingship were popular themes in medieval texts, including Beowulf and King Horn. The role of the king in epic tales varies from hero to villain, at times even occupying both roles depending on the story. In the tales explored herein and in much of the medieval source material that inspired the fantasy tradition, the king also takes on the role of healer. The interwoven plots of George R. R. Martinâ s A Song of Fire and Ice series revolve around the struggle for the rightful rule over seven kingdoms, and while the protagonist in The Sandman is in many ways vastly different from Tolkienâ s Aragorn, the character still exists with a sense of purpose, responsibility, and duty; a regal bearing that does not necessarily occur in the majority of typical heroes. The influence of Tolkienâ s work both as a scholar and an author is apparent in Gaimanâ s use of mythology and Martinâ s style of world creation; both authors have admitted their creative debt to and continuing admiration of Tolkienâ s style of fantasy. It is impossible to discuss modern fantasy without acknowledging Tolkien as an influence to these two more recent authors. This paper will discuss The Lord of the Rings as a bridge between modern fantasy and medieval/mythological sources.
In each of these modern fantasy tales of kingship, healing and reunion become major themes, tied into the right/duty of a ruler. The patterns established by medieval tales are used by modern authors to create fantasy kings, giving their narratives legitimacy that may have been difficult to establish without these patterns and links back to the medieval tradition.Master of Arts
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Pichenstein, Serena. "Le vitae medievali di Romedio." Doctoral thesis, Università degli studi di Trento, 2013. https://hdl.handle.net/11572/367876.
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Romedio e il dibattito storiografico: Il presente lavoro nasce dal desiderio di affrontare la questione romediana in un’ottica nuova, che unisca l’approfondimento della tradizione ad uno studio dei racconti agiografici di Romedio secondo un approccio culturale più vasto. Nello specifico, in una prima parte ci si propone di inquadrare la questione romediana attraverso il dibattito storiografico che nelle diverse epoche ha permesso di delineare come estremamente problematico e assolutamente non univoco il profilo dell’eremita anaune, a rischio di ideologizzazioni e strumentalizzazioni politiche della sua figura.
Le agiografie medievali di Romedio: Lo sviluppo della tesi parte dall’analisi della tradizione medievale delle leggende romediane. Dopo aver presentato ciascuna Vita, sia dal punto di vista dei manoscritti che delle edizioni a stampa, si riconosce quale obiettivo principale l’opportunità di approfondire lo studio dell’ultima agiografia dell’eremita anaune, denominata in questa sede come versione K, in virtù della scoperta che la leggenda romediana riportata dal manoscritto sangiorgiano della biblioteca di Karlsruhe (K = Karlsruhe, Badische Landesbibliothek, St. Georgen 14, ff. 1r -10r) ci consegna la più recente e la più interessante agiografia, frutto della contaminazione di due versioni precedenti, corrispondenti alle Vitae BHL 7144 e 7145.
L’edizione della vita K: L’allestimento dell’edizione della vita K verte attorno a due questioni fondamentali: si unisce infatti la problematica di un’agiografia attestata da un codex unicus allo studio del codice illustrato. Dopo aver riconosciuto la stretta corrispondenza che l’agiografia K intesse con le 10 illustrazioni che la accompagnano, si individua un rapporto biunivoco tra il testo e le immagini, tale però da superare, nelle suggestioni visuali introdotte, il contenuto veicolato dal solo testo scritto.
Le icone biografiche: Per questa ragione si è scelto di connettere lo studio storico –letterario delle leggende romediane al contributo di ulteriori discipline quali la paleografia, ma soprattutto agli studi iconografici e storico –artistici. Si è rilevato molto proficuo il confronto con la tradizione iconica di matrice orientale. Nello specifico si è proposta una connessione tra le illustrazioni del codice K e le tradizionali celebrazioni in occasioni delle feste dei santi: si è potuto stabilire un netto parallelismo tra l’esposizione delle icone biografiche dei santi durante la pubblica lettura delle loro agiografie, affinché il fedele, immerso nella contemplazione del ritratto venerabile, potesse trovare conferma e motivo di riflessione nella corrispondenza dei fatti narrati dall’agiografia con gli episodi più significativi rappresentati iconograficamente. Considerato quindi l’allestimento codicologico della Vita di Romedio riportata dal manoscritto di Karlsruhe, pare di assistere alla proposta, all’interno di un manoscritto illustrato, dell’usanza delle icone biografiche.
Suggestioni fantastiche e meravigliose: Terminato lo studio di K è parso opportuno un ulteriore raffronto con l’intera tradizione medievale delle leggende agiografiche romediane, dal quale è emerso come le suggestioni fantastiche e meravigliose appaiano come elemento prioritario. Le 5 agiografie propongono un ritratto di Romedio tracciato sulla base di nuclei narrativi comuni: il rapporto con Vigilio, il nascere della vocazione, la santità della vita eremitica, l’eccezionalità della sua esistenza. Pur nella specificità di ciascuna Vita, le 5 leggende romediane trovano così nell’elemento narrativo l’elemento unificante. Il gusto del narrare si riconosce infatti nella costante e crescente proposta di suggestioni fantastiche e meravigliose. Le peculiarità individuate all’interno della versione K apparivano infatti in nuce già nella versione più antica della Vita di Romedio, contenuta nel Liber epilogorum in gesta sanctorum di Bartolomeo da Trento, dove l’autore trecentesco dichiarava esplicitamente come l’intento di delectatio accompagnasse il proposito dell’edificatio fidelium. Partendo così dall’identificazione, secondo la classificazione di Le Goff, di scenari fantastici e corrispondenti al sentire medievale, le suggestioni meravigliose all’interno delle agiografie romediane individuano un motivo estremamente interessante e produttivo.
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Pichenstein, Serena. "Le vitae medievali di Romedio." Doctoral thesis, University of Trento, 2013. http://eprints-phd.biblio.unitn.it/911/1/LE_VITAE_MEDIEVALI_DI_ROMEDIO_-_Tesi_di_Dottorato_di_Serena_Pichenstein.pdf.
Full textAbstract:
Romedio e il dibattito storiografico: Il presente lavoro nasce dal desiderio di affrontare la questione romediana in un’ottica nuova, che unisca l’approfondimento della tradizione ad uno studio dei racconti agiografici di Romedio secondo un approccio culturale più vasto. Nello specifico, in una prima parte ci si propone di inquadrare la questione romediana attraverso il dibattito storiografico che nelle diverse epoche ha permesso di delineare come estremamente problematico e assolutamente non univoco il profilo dell’eremita anaune, a rischio di ideologizzazioni e strumentalizzazioni politiche della sua figura.
Le agiografie medievali di Romedio: Lo sviluppo della tesi parte dall’analisi della tradizione medievale delle leggende romediane. Dopo aver presentato ciascuna Vita, sia dal punto di vista dei manoscritti che delle edizioni a stampa, si riconosce quale obiettivo principale l’opportunità di approfondire lo studio dell’ultima agiografia dell’eremita anaune, denominata in questa sede come versione K, in virtù della scoperta che la leggenda romediana riportata dal manoscritto sangiorgiano della biblioteca di Karlsruhe (K = Karlsruhe, Badische Landesbibliothek, St. Georgen 14, ff. 1r -10r) ci consegna la più recente e la più interessante agiografia, frutto della contaminazione di due versioni precedenti, corrispondenti alle Vitae BHL 7144 e 7145.
L’edizione della vita K: L’allestimento dell’edizione della vita K verte attorno a due questioni fondamentali: si unisce infatti la problematica di un’agiografia attestata da un codex unicus allo studio del codice illustrato. Dopo aver riconosciuto la stretta corrispondenza che l’agiografia K intesse con le 10 illustrazioni che la accompagnano, si individua un rapporto biunivoco tra il testo e le immagini, tale però da superare, nelle suggestioni visuali introdotte, il contenuto veicolato dal solo testo scritto.
Le icone biografiche: Per questa ragione si è scelto di connettere lo studio storico –letterario delle leggende romediane al contributo di ulteriori discipline quali la paleografia, ma soprattutto agli studi iconografici e storico –artistici. Si è rilevato molto proficuo il confronto con la tradizione iconica di matrice orientale. Nello specifico si è proposta una connessione tra le illustrazioni del codice K e le tradizionali celebrazioni in occasioni delle feste dei santi: si è potuto stabilire un netto parallelismo tra l’esposizione delle icone biografiche dei santi durante la pubblica lettura delle loro agiografie, affinché il fedele, immerso nella contemplazione del ritratto venerabile, potesse trovare conferma e motivo di riflessione nella corrispondenza dei fatti narrati dall’agiografia con gli episodi più significativi rappresentati iconograficamente. Considerato quindi l’allestimento codicologico della Vita di Romedio riportata dal manoscritto di Karlsruhe, pare di assistere alla proposta, all’interno di un manoscritto illustrato, dell’usanza delle icone biografiche.
Suggestioni fantastiche e meravigliose: Terminato lo studio di K è parso opportuno un ulteriore raffronto con l’intera tradizione medievale delle leggende agiografiche romediane, dal quale è emerso come le suggestioni fantastiche e meravigliose appaiano come elemento prioritario. Le 5 agiografie propongono un ritratto di Romedio tracciato sulla base di nuclei narrativi comuni: il rapporto con Vigilio, il nascere della vocazione, la santità della vita eremitica, l’eccezionalità della sua esistenza. Pur nella specificità di ciascuna Vita, le 5 leggende romediane trovano così nell’elemento narrativo l’elemento unificante. Il gusto del narrare si riconosce infatti nella costante e crescente proposta di suggestioni fantastiche e meravigliose. Le peculiarità individuate all’interno della versione K apparivano infatti in nuce già nella versione più antica della Vita di Romedio, contenuta nel Liber epilogorum in gesta sanctorum di Bartolomeo da Trento, dove l’autore trecentesco dichiarava esplicitamente come l’intento di delectatio accompagnasse il proposito dell’edificatio fidelium. Partendo così dall’identificazione, secondo la classificazione di Le Goff, di scenari fantastici e corrispondenti al sentire medievale, le suggestioni meravigliose all’interno delle agiografie romediane individuano un motivo estremamente interessante e produttivo.
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Grosvenor, Peter Christopher. "A Medieval future : the social, economic and aesthetic thought of A.J. Penty (1875-1937)." Thesis, London School of Economics and Political Science (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285151.
Full textAbstract:
This thesis is a comprehensive account and analysis of the contribution of architect and author A. J. Penty to British social criticism and aesthetic theory. The central argument is that Penty has been neglected in scholarship as the result of an historical misclassification. In the existing literature he is presented as a marginal figure in the history of English guild socialism, a movement his first book did much to inspire. He was, in fact, in conflict with fundamental aspects of the guild socialist movement as it developed. Considered in totality, Penty's views were those of a reactionary conservative, and his significance in early twentieth-century political thought can best be understood by locating him within the essentially Victorian tradition of medievalism, which sought to use the social and economic arrangements of the Middle Ages as a perspective from which to criticise industrial society. The thesis therefore investigates the complex nature of Penty's intellectual debts to earlier thinkers, such as Ruskin, Carlyle, Morris, Carpenter, and Matthew Arnold. A subsidiary contention is that the continuing relevance of medievalism in Edwardian and later intellectual life has been underestimated. Some of its central themes can be discerned in the several political currents with which Penty was in varying degrees associated, such as guild socialism, distributism, Christian social action, agrarian revivalism and fascism. Support for this view has been found by examining Penty's personal and intellectual links with likeminded contemporaries, including Belloc, Chesterton, de Maeztu, Saunders Lewis, T. S. Eliot, Berdyaev and A. K. Coomaraswamy.The thesis aims to highlight the continuities between Penty and his nineteenth-century antecedents and also to identify his original contributions to the development of medievalist thinking, particularly in the sphere of international relations theory. 3 2
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Kirby, James. "Historians and the Church of England : religion and historical scholarship, c.1870-1920." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7056c671-d64b-4014-b209-f4f5dde2d39d.
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The years 1870 to 1920 saw an extraordinary efflorescence of English historical writing, dominated by historians who were committed members of the Church of England, many of them in holy orders. At a time when both history and religion were central to cultural life, when history was becoming a modern academic discipline, and when the relationship between Christianity and advanced knowledge was under unprecedented scrutiny, this was a phenomenon of considerable intellectual significance. To understand why this came about, it is necessary to understand the intellectual and institutional conditions in the Church of England at the time. The Oxford Movement and the rise of incarnational theology had drawn Anglicans in ever greater numbers towards the study of the past. At the same time, it was still widely held that the Church of England should be a ‘learned church’: it therefore encouraged scholarship, sacred and secular, amongst its laity and clergy. The result was to produce historians who approached the past with a new set of priorities. The history of the English nation and its constitution was rewritten to show that the church – and especially the medieval church – was the originator and guarantor of modern nationality and liberty. Attitudes to the Reformation shifted from the celebratory to the sceptical, or even the downright hostile. Economic historians even came to see the Reformation as a social revolution – as the origin of modern poverty or capitalism. New and distinctive ideas about progress and divine providence were developed and articulated. Most of all, an examination of Anglican historical scholarship shows the continued vitality of the Church of England and the limitations to the idea that intellectual life was secularised over the course of the nineteenth century. Instead, historiography continued to be shaped by Anglican thought and institutions at this critical stage in its development.
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Valenzano, Giovanna <1961>. "San Zeno di Verona: i cantieri medievali." Doctoral thesis, Università Ca' Foscari Venezia, 1991. http://hdl.handle.net/10579/15574.
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Uribe, Echeverría Catalina. "La contemplación de la sangre : tres lecturas medievales." Tesis, Universidad de Chile, 2011. http://repositorio.uchile.cl/handle/2250/108735.
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La sangre ha sido universalmente considerada como la imagen fundamental de la vida, el vehículo de lo vital que, cuando se derrama, llama a la muerte. Su simbología es ambivalente, signo simultáneo de purificación y corrupción, energía y violencia. En este trabajo se busca investigar cómo la significación paradójica de la contemplación de la sangre es un motivo literario que se puede verificar a través de tres lecturas medievales: la devota cristiana, la amorosa, y la perversa. La siguiente investigación se propone establecer que la contemplación de la sangre ha sido objeto de inspiración literaria y religiosa en la Edad Media. La imagen de la sangre y/o sus gotas induce a fenómenos extáticos de ensimismamiento o contemplación que se manifiestan en formas paradójicas, y sin sentido unívoco, en diferentes períodos de la historia y a través de los siguientes registros de escritura o corpus: en el religioso y hagiográfico con las Sagradas Escrituras (entendido aquí como antecedente necesario para la comprensión de muchos fenómenos medievales) y las vidas de algunos(as) santos(as) en torno a la visión, y contemplación, de la Santa Sangre; en la primera ‘novela’ medieval Perceval El Galés o el Cuento del Grial, y los motivos literarios que giran en torno a la escena en la que el protagonista cae en un estado de contemplación profunda ante tres gotas de sangre estampadas en la nieve; y en las actas judiciales eclesiástica y civil del Proceso de Gilles de Rais de la Baja Edad Media, donde se revela el estado de éxtasis en el que caía este asesino ante el derramamiento de sangre de sus víctimas. Esta imagen simbólica tiene un efecto de desbordamiento, escapa al control y llama a una transformación en profundidad. Así como las devotas medievales pierden el sentido cuando se sienten inundadas por la sangre de Cristo, el héroe Perceval lo pierde también ante la visión hipnótica de este elemento derramado en la nieve, y Gilles de Rais representa el nivel más extremo de desenfreno y pérdida de conciencia, o sea de preponderancia –en sus palabras y en sus conductas- del inconsciente, cuando cae en éxtasis al ver el líquido vital escurriendo incansablemente de los cuerpos abiertos de niños agónicos.
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Bach, Valérie. "Les clefs des songes medievales (xiiie-xve siecles)." Strasbourg 2, 2000. http://www.theses.fr/2000STR20034.
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Dans les clefs des songes medievales tout questionnement quant au sens des songes vient se heurter au mur de presages stereotypes. Les interpretations refletent et imposent l'ideologie de la classe dominante, celle de la monarchie et de la noblesse. La doctrine chretienne est utilisee a travers la thematique du salut et de la vie etemelle. Gouverner est assimile a mener la lutte du bien contre lemal, et le pouvoir royal est ainsi sacralise. A la lecon de l'au-dela est jointe celle de l'ici-bas, ordre celeste et social sont declares conjoints. La hierarchie sociale entretient l'harmonie du monde et la moindre atteinte a sa structure declenche des consequences catastrophiques. Le sujet est invite a se complaire dans le rayonnement des grands et a se laisser eblouir par eux. Il lui est assure qu'oeuvrer au profit du pouvoir equivaut a defendre ses propres interets. Le symbolisme des elements, des vegetaux et des animaux est recupere pour tisser un filet destine a pieger tout desir personnel. La representation de soi et des autres est induite dans le sens voulu par le pouvoir. L'image du corps devient metaphore de l'image d'une elite masculine parfaite. Enfin enfants et femmes sont destines a soutenir l'image masculine. Le fils doit reproduire l'image du pere, la fille est devalorisee. La femme est mere et epouse ou mauvaise femme. L'ennemi est omnipresent et focalise peurs et revoltes. Sous les traits du rival, du sauvage, de l'etranger et du diable. L'exterminer permet aussi de lui derober une richesse symbole du pouvoir. L'interprete des songes joue de la realite quotidienne, des motivations conscientes et inconscientes pour mener a bien une entreprise de persuasion. L'opacite de son discours est moins apparente qu'il sait jouer de toutes les resonances.
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Chanoir, Yohann. "Châteaux médiévaux au cinéma : entre imaginaire et historicité. Des lendemains d'Hastings à la Diète de Worms." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0194.
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La thèse Châteaux médiévaux au cinéma : entre imaginaire et historicité. Des lendemains d’Hastings à la Diète de Worms se propose d’étudier les modalités avec lesquelles le cinéma a mis en scène les forteresses du Moyen Âge. Cette recherche s’appuie sur un corpus de quatre cent-vingt-trois titres, réalisés entre 1895 et 2018 et dont la diégèse est comprise entre 1066 (après la bataille d’Hastings) et 1521 (Diète de Worms). Il ne s’agit pas de traquer les anachronismes des représentations filmiques mais de mettre en valeur la dimension narrative de ces images ainsi que leurs origines. L’analyse s’appuie sur une filmographie ouverte dès les débuts du médium, durée nécessaire pour étudier les ruptures et les continuités mais aussi pour mettre en évidence les formes modélisantes inspirées d’autres médias et les survivances issues du Moyen Âge. La réflexion s’inscrit ainsi à la fois dans l’histoire médiévale et dans l’histoire culturelle. Ce questionnement du discours porté par les images cinématographiques a permis de faire ressortir que les représentations des châteaux du Moyen Âge obéissaient à des conventions, souvent anciennes, toujours mobiles et qui réduisent la complexité initiale de ces édifices à une série de scènes et d’espaces stéréotypés, où le Moyen Âge est parfois plus un prétexte qu’un contexte, un imaginaire dont toutefois la médiévistique peut tirer profitMedieval castles in the cinema: between imagination and historicity. From the aftermath of Hastings to the Diet of Worms, proposes to study the ways in which cinema has staged medieval fortresses. This research is based on a corpus of four hundred and twenty-three titles, made between 1895 and 2018 and whose diegesis is between 1066 (after the Battle of Hastings) and 1521 (Diet of Worms). It is not a question of tracking down the anachronisms of filmic representations, but of highlighting the narrative dimension of these images as well as their origins. The analysis is therefore based on a filmography that is open from 1895, a period of time necessary to study the ruptures and continuities but also to highlight the modeling forms inspired by other media and the survivals from the Middle Ages. The reflection is thus part of both Medieval History and Cultural History. This questioning of the discourse carried by the images has made it possible to show that the representations of medieval castles by the cinema obeyed conventions, sometimes ancient, which circulate and which reduce the initial complexity of these buildings to a series of stereotyped scenes and spaces, where the Middle Ages is sometimes more a pretext than a context, an imaginary from which Medievalism can take advantage
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Massip, i. Bonet Francesc. "La Festa d'Elx i els misteris medievals europeus /." Alacant : Institut de cultura Juan Gil-Albert, 1991. http://catalogue.bnf.fr/ark:/12148/cb36210223z.
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Missagia, Andrea <1991>. "Oreficerie medievali a smalto traslucido in territorio veneto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14621.
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Lo studio è volto ad analizzare le produzioni orafe in ambito veneto caratterizzate da una decorazione a smalto traslucido, collocabili in un arco temporale comprendente i secoli XIV e XV.
Nel primo capitolo introduttivo vengono esaminati i materiali e i procedimenti tecnici utilizzati nella produzione degli smalti in età tardo medievale. Segue un catalogo suddiviso per circoscrizioni territoriali, in cui sono raccolti in ordine cronologico differenti tipologie di manufatti: reliquiari, calici, croci, e altre suppellettili liturgiche. L’analisi di questo gruppo di oreficerie è stata condotta mediante la visione ravvicinata delle opere stesse, nonché – quando possibile – attraverso la consultazione degli inventari appartenenti ai luoghi in cui questi oggetti sono o erano conservati. Nel capitolo finale si sottolineano gli aspetti di maggior rilievo caratterizzanti questo tipo di decorazione, e si ripercorre la sua evoluzione, con un focus sui particolari figurativi smaltati, dei quali si traccia lo sviluppo stilistico attraverso un’analisi iconografica ed iconologica unita al confronto con la coeva produzione pittorica e miniata veneta.
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Cunha, Sílvia Marisa dos Santos Almeida. "Un chant novel : a inspiração (neo)trovadoresca na poética de Jorge de Sena." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2781.
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Mestrado em Estudos PortuguesesO presente trabalho constitui um contributo para o estudo da tendência neotrovadoresca na poesia portuguesa contemporânea, entendendo-a como recuperação dos modelos semânticos e formais que tipificam os três géneros canónicos integrados na tradição galego-portuguesa medieval: cantigas de amor, cantigas de amigo e cantigas de escárnio e maldizer. Numa primeira parte, discute-se a origem e a amplitude conceptual da designação de «neotrovadorismo», com vista à delineação de uma tipologia das modalidades de intertextualização do discurso trovadoresco. Procede-se ainda a uma breve sondagem diacrónica em torno da poesia portuguesa do século XX, com o objectivo de nela averiguar a incidência da recuperação neotrovadoresca. Numa segunda parte, elege-se a obra poética de Jorge de Sena, nela salientando a relevância do imaginário medieval. Depois de se proceder à detecção das composições que, no conjunto da sua ampla obra poética, denunciam uma inequívoca inspiração neotrovadoresca, propõe-se uma análise dos textos elencados, neles destacando, em especial, a relevância do modelo da sátira galego-portuguesa. ABSTRACT: This dissertation aims to contribute to the study of neotroubadourism in contemporary Portuguese poetry, i.e., the recuperation of the semantic and formal features which define the three conventional genres into which medieval Galician-Portuguese poetry has been divided: cantigas de amor, cantigas de amigo and cantigas de escárnio e maldizer. In the first section, we have discussed the origin and conceptual scope of the term neotroubadourism so as to define a typology pertaining to the modes of intertextuality implied by troubadour poetry. We have then presented a brief survey of 20th century Portuguese poetry, in order to analyse the recurrence of neotroubadour influence. In the second section, we have selected Jorge de Sena’s poetical work and we have highlighted the relevance of medieval imagery it reveals. We have focussed on the specific set of poems dealing with troubadour motifs, by particularly emphasizing the underlying presence of Galician-Portuguese satirical tradition.
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Pereira, Paulo Alexandre Cardoso. "A beleza imortal das catedrais Afonso Lopes Vieira e a imaginação medievalista." Doctoral thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/2862.
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O labor polígrafo de Afonso Lopes Vieira (1878-1946) permite inteligir, a par de
outras coordenadas conformadoras da mundividência neo-romântica, a
emergência e consolidação de um substrato imaginário de cunho medievalista
que, sem declinar a sua ascendência oitocentista, acolhe as novas solicitações
estéticas e doutrinárias da viragem de século. De modo a indagar as vertentes
manifestativas e os usos plurais a que este filão medievalizante se presta,
partiu-se da prospecção exaustiva da obra – ensaística, lírica e narrativa – do
autor, procurando inscrevê-la no húmus estético-literário finissecular e
primonovecentista em que se encontra enraizada, perspectivando-a como
ponto de confluência de multivários caudais ideológicos. Tomando em linha de
conta as suas possibilidades operatórias, definiu-se, em seguida, um elenco
da herança medievalista patenteada pela obra de Lopes Vieira, nela
discernindo diversas instâncias crítico-imaginativas: a neotrovadoresca e
neopopularista, a tristaniana, a cavaleiresca e a hagiográfica.
Invariavelmente instigada por um ideário de pendor nacionalista, fundamente
comprometida com a reescrita rectificativa do património literário canónico, a
obra de Lopes Vieira afirma-se como espaço propiciatório de um medievalismo
utópico que, antes de ser figurino estético ou ponto de fuga lenificante na
alteridade do passado, se quer senda de regeneração futura.Afonso Lopes Vieira’s (1878-1946) multifarious work, apart from fully illustrating a neo-romantic Weltanschauung, also provides an invaluable insight into the emergence and strengthening of a medievalist imagination that, though never dismissing its 19th century origins, is responsive to new aesthetic and doctrinal claims concomitant with the turn of century. So as to look into both the different manifestations and the multifunctional role of the medievalist repertory, we have conducted an extensive survey of the author’s literary work (including his essays, poetry and fiction), seeking to read it within the intricate fin-de-siècle and early 20th century literary framework and setting it at the juncture of diversified ideological trends. In view of its operative value, we have then chosen to single out a number of critical and imaginative categories of medievalism, as represented in Vieira’s work, covering such topics as neo- -troubadourism, the tristanian myth or the array of chivalric and hagiographical themes dealt with. Invariably incited by an unrelenting nationalistic outlook, persistently committed to a revisionist rewriting of the literary canon, Vieira’s work opens up a space of utopian medievalism that, far from inducing contemporary solace in the alterity of the past, voices the urge for future regeneration.
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Desrochers, Arnald. "Los cruces genéricos en las cantigas gallego-portuguesas medievales." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59627.
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The cantigas de amor, de amigo, de escarnio, and de maldecir are poetic compositions written between 1200 and 1350 which form a literary school commonly referred to as Galician-Portuguese. The troubadours who refine these compositions do not limit themselves to composing cantigas of only one genre. They write cantigas of all types. For thematic and formal purposes, the common practice is to divide the cantigas into four genres. These divisions are not always very clear.Because they were in touch with all sorts of cantigas, the poets included in their poems characteristics which blended from one genre to another. This may or may not have been done intentionally. Critics later studied these cantigas. They found that cantigas of one genre shared peculiarities common to cantigas of other genres, but they did not explore further into this trait. This study analyzes characteristics found commonly in one genre of cantiga and, as well, by placing together those cantigas with related attributes, it establishes the overlapping that takes place between the cantigas of different genres.
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Maxson, Brian. "Review of Early Modern Medievalisms: The Interplay between Scholarly Reflection and Artistic Production." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/6210.
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This book reviewed deals with the investigation of conceptions of the medieval world called "Medievalisms". In addition, the book's contributors examine how early modern men and women perceived the medieval world and how these interpretations differed from our own in the twenty-first century.
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Garrido, Sepúlveda Claudio. "La expresión de la condicionalidad en los romanceamientos bíblicos medievales." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/456314.
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En la siguiente investigación, se estudian los diferentes procedimientos léxicos y sintácticos de que los hablantes se han valido en la baja Edad Media castellana para expresar el valor condicional. Para ello, se efectúa un recorrido analítico que no solo contempla la observación de tópicos clásicos —como la tipología de los esquemas condicionales introducidos por si (vid. § VI y § VII)— sino también la de dominios innovadores respecto de la tradición bibliográfica —como las estructuras híbridas (vid. § VII)—. Además, se indaga en la estrecha relación entre el valor condicional y aquellas nociones con las cuales este se imbrica por proximidad semántica —como la temporalidad, la causalidad y la concesividad (vid. § IX y § X)— y, de modo adyacente, se propicia un examen pormenorizado de la gramática de la partícula si, amén de su valor suposicional (vid. § XI). Las transformaciones que afectaron al sistema condicional durante los siglos XIII y XV se abordan desde dos ángulos teórico-metodológicos: primero, el análisis tipológico de las oraciones condicionales se sustenta en el modelo explicativo de la reorganización modo-temporal elaborado por Veiga (1991, 2006) (vid. § II) y, segundo, se explora la incidencia de las tradiciones discursivas en la variación lingüística (cf. Koch 1997; Oesterreicher 1997; Jacob y Kabatek 2001) (vid. § IV). Con el fin de facilitar el acercamiento discursivo, se procesaron exhaustivamente los datos procedentes del corpus Biblia Medieval (cf. Enrique-Arias 2008c), de modo que un segmento importante de la tesis se fundamenta en el análisis cuantitativo, aunque también hay aproximaciones cualitativas. Adicionalmente, se aprovecha el extenso conjunto de estructuras condicionales como una lente para observar la traducción bíblica, en términos de la dependencia que ostentan las biblias romanceadas respecto del original hebreo o latino, y en cuanto a la proximidad existente entre cada proyecto de traducción (vid. § XII).In the following research, we study the different lexical and syntactic mechanisms that Castilian speakers used in the Late Middle Ages to express the conditional sense. For this purpose, we undertake an analysis which not only contemplates the observation of classical topics — such as the typology of the conditional sentences introduced by si (See § VI and § VII) — but also of innovative domains in respect to the bibliographic tradition — such as mixed structures (See § VII). Moreover, we inquire into the close relationship between the conditional sense and those notions with which it is imbued due to the semantic proximity — such as temporality, causality and concessiveness (See § IX and § X) — and, tangentially, we perform a detailed review of the grammar of the particle si, beyond its suppositional sense (See § XI). The transformations that affected the conditional system during the 13th and 15th centuries are approached from two theoretical and methodological angles: first, the typological study of conditional sentences is based on the explanatory model of the modal and temporal reorganization elaborated by Veiga (1991, 2006) (See § II), and secondly, we explore the role of discursive traditions on linguistic variation (cf. Koch 1997; Oesterreicher 1997; Jacob and Kabatek 2001) (See § IV). In order to facilitate the discursive approach, we have extensively processed the data from Biblia Medieval Corpus (cf. Enrique-Arias 2008c), so that an important part of this thesis is based on quantitative analysis, although there are also qualitative approaches. In addition, we use the extensive set of conditional structures as a lens to observe the biblical translation, in terms of the dependence that the Spanish Bible translations manifest on the original text in Hebrew or Latin, and in terms of proximity between each translation project (See § XII).