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1
Gilby, Emma. "Sublimity and selfhood in seventeenth-century French literature". Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426498.
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Harris, Joseph. "Cross-dressing in seventeenth-century French literature and culture". Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398507.
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Brovedan, Corinne. "Images of women in seventeenth-century French novels". Thesis, Queen Mary, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283299.
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Grist, Elizabeth Rosalind. "The salon and the stage : women and theatre in seventeenth-century France". Thesis, Queen Mary, University of London, 2001. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1464.
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This thesis is a study of the links between female emancipation and the theatre in seventeenth century France. Since both were considered problematical by some religious moralists, the discussion is situated in the context of religious criticism. The approach is broadly chronological and focuses in particular on the work of women playwrights. The religious background is summarized in the Introduction. Part One surveys the cultural climate, discussing links between salon society and the theatre including women's involvement as patrons; their presence in the auditorium and on stage; and the concept of 'bienséance', examined here in the context of the 'querelle du Cid'. Part Two considers the function of the stage as a place where women could literally try out different roles. It examines ways in which women were portrayed in a selection of plays from the 1630s to the 1670s (including works by Mairet, Rotrou, Corneille and Molière), discussing the images of 'la femme forte' and 'la precieuse', and the contribution made by playwrights to the contemporary debate on female emancipation. Part Three is devoted to the work of six women playwrights who had their work published or performed in France between 1650 and 1691 (Madame de Saint-Balmon, Marthe Cosnard, Françoise Pascal, Marie-Catherine Desjardins, Madame Deshoulieres and Catherine Bernard) and one whose only play was performed in England (Anne de La Roche-Guilhen). The discussion focuses not only on the plays themselves and their inspiration, but on what is known of each author's background and literary career, her contacts in literary society and the reception of her work. The involvement of women in the theatre proved of mutual benefit, contributing to its popularity and providing opportunities for their greater freedom and intellectual development.
5
Jenkins, Clare Helen Elizabeth. "Jansenism as literature : a study into the influence of Augustinian theology on seventeenth-century French literature". Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/3ab04713-bc11-46a5-8604-507e1d753038.
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This study investigates the effects of Jansenist theology on seventeenth-century French literature. After an initial explanation of the history of the Jansenist movement and its specific beliefs, there then follows a study into some of the works produced by members of this group. These citations have also been used in order to trace the development of the movement over the seventeenth century. For the purpose of this research, the term J ansenism has been taken to refer to the movement in the seventeenth century and has not been extended into the following century. Once this description has been given, the following four chapters each deal with an individual author and their connection to the Jansenist movement. Their principle works are then studied in order to ascertain the level of influence exerted by this form of religious piety on their literary output. Chapter Two deals with Pascal and concentrates on his Lettres Provinciales and Pensees. Chapter Three studies La Rochefoucauld's Maximes, which are a prime example of the pessimistic view of mankind that was so prevalent during this century. Chapter Four looks into two of Madame de Lafayette's novels, La Princesse de Cleves and La Comtesse de Tende. Chapter Five then studies Racine, a figure whose personal connections with the Jansenist movement, and subsequent estrangement from it, have been well studied. Finally the Conclusion draws together the findings from these chapters and demonstrates how the movement's own development led to changes in how Jansenist doctrine affected the literature of the seventeenth century.
6
Wilton-Godberfforde, Emilia Eleni Rachel. "Mendacity and the figure of the liar in seventeenth-century French comedy". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609698.
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Johnson, Jinna E. ""Dans le pays des Hurons": Female Spirituality, French Jesuits, and the Huron Nation in France and New France during the Seventeenth Century". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/891.
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This thesis examines the relationship between French female Catholicism during the 17th century and representations of Huron women’s spirituality in Relations des Jésuites. I argue that the nuances of French dévote culture highlight the elevated status of women in Huron indigenous society. These portraits of Huron women by the Jesuits inspired French women to breach the cloister and become missionaries, resulting in newfound religious freedoms for dévotes achieved through imperialistic efforts against the Huron nation.
8
Turner, Sophie. "Cyrano de Bergerac : battling with narrative burlesque". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a589190d-3abd-48f2-82d3-95b0b6ce0663.
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This thesis considers the burlesque literary forms in the work of the seventeenth-century writer, Cyrano de Bergerac. It challenges current scholarship by looking beyond libertinism to consider the importance of Cyrano's comic writing practices. While it does not deny the philosophical and scientific focus of Cyrano's oeuvre, it suggests that the burlesque is a defining characteristic. By taking into account the literary context in which Cyrano was writing – notably the querelle des Lettres and the rise of the histoire comique – as well as looking at other comic writers that could have influenced Cyrano, and through close textual readings, this thesis reveals that burlesque forms are often used in excess in Cyrano's work – forms compete against forms – producing destructive effects; burlesque forms can, in effect, be self-defeating. This project then asks whether it is possible to consider Cyrano a comic writer at all. It does demonstrate, however, that, in ridiculing everyone and everything, Cyrano too makes a mockery of the very idea of a dissimulative text. In questioning the literary gesture that Cyrano makes through his battling burlesque forms, this thesis suggests that libertinism can appear to be one of many playful masks the author assumes in his work. Is Cyrano a burlesque libertine? If so, this thesis raises the wider question of whether there are other imposters within the ranks.
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Brodeur, Pierre-Olivier. "Le roman édifiant aux XVIIe et XVIIIe siècles". Thèse, Paris 3, 2013. http://hdl.handle.net/1866/10805.
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Les romans édifiants des XVIIe et XVIIIe siècles – des fictions narratives en prose qui affichent clairement leur volonté de transmettre des valeurs chrétiennes et d’influencer le comportement de leurs lecteurs dans le sens de ces valeurs – développent une poétique spécifique, basée sur la recherche et le dévoilement de la vérité chrétienne à travers la fiction mondaine. Ils posent ainsi de front une question qui a hanté les écrivains et les théoriciens de l’Âge classique, à savoir la conciliation du plaisir romanesque et de la moralité. La topique du roman édifiant (personnages, lieux et temps), sa matérialité (titres, divisions internes, ensembles d’œuvres) et sa voix (narrative et rhétorique) concourent à l’élaboration d’effets de sens qui servent la visée persuasive et religieuse des ouvrages tout en créant des récits et des imaginaires propres à satisfaire le goût du lectorat pour le roman. Cette étude vise à réintégrer dans l’histoire du roman un corpus d’œuvres négligées par la critique en faisant apparaître leur contribution à l’élaboration du roman : du roman d’Ancien Régime d’abord, mais aussi du roman à thèse moderne et, par extension, de toute la fiction idéologique.Edifying novels of the seventeenth and eighteenth centuries - narrative prose fictions that clearly put forth their will to convey Christian values and influence the behavior of their readers in the sense of these values - develop a specific poetics, based on the research and the unveiling of Christian truth through mundane fiction. They therefore emphasize a problem that has haunted writers and theorists of the Classical Age, namely the reconciliation of novelistic pleasure and morality. The narrative topics of the edifying novel (characters, places and times), its materiality (titles, internal divisions, groups of works) and voice (narrative and rhetorical) contribute to the development of significations that serve the persuasive and religious aim of the works while creating stories and imaginary worlds capable of satisfying the taste of the audience for the novel. This study aims to reintegrate in the history of the novel a body of works neglected by literary critics by showing their contribution to the development of the novel: the novel of the Old Regime, but also the modern novel of thesis and by extension, the entire ideological fiction.
Réalisé en cotutelle avec l'université de la Sorbonne Nouvelle-Paris 3
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Mertz-Weigel, Dorothee. "Figuring melancholy: from Jean de Meun to Moliere, via Montaigne, Descartes, Rotrou and Corneille". The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1117647343.
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O'Flaherty, E. "Relativism and criticism in seventeenth-century French thought". Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383845.
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Townshend, Sarah Elizabeth. "Marriage and desire in seventeenth-century French comedy". Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6812.
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This thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de Visé establishes that comedy can be both enjoyable and satisfying while incorporating elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy. Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected comedic marriages, particularly as these desires relate to fertility, is the guiding principle of Chapter Three, which also sets out essential terms of reference for the fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate' or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.
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Dray, J. P. "Neoplatonism and French religious thought in the seventeenth century". Thesis, University of Oxford, 1987. https://ora.ox.ac.uk/objects/uuid:5c4c5d7a-9eb3-4b38-9273-eb71078017ad.
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This thesis is a heuristic and argumentative study of the significance of Neoplatonism in the religious thought of the French Catholic revival of the seventeenth century. Taking the broad corpus of Neoplatonic thought - classical, patristic, mediaeval and, especially, that of the Florentine Renaissance - as its starting-point, it deals briefly with the reception and exploitation of Neoplatonic ideas by the French Humanists, before proceeding to consider the seminal influence of the cercle Acarie in the late sixteenth century. It is in this spiritual group of distinctly mystical bent that we discern the beginnings of a profound movement of religious thought greatly inspired by Neoplatonism, with its ultimate origins in the years predating the Reformation, and which continued to play an important part in seventeenth-century philosophy and theology. This Neoplatonic movement is exemplified by the Order of Capuchins and the Congregation de l'Oratoire, and the main part of the thesis concerns these two religious groups in which the continuity, consistency and, indeed, inescapability of the Neoplatonic tradition are readily apparent. Amongst the Capuchins, the development away from abstract mysticism towards more Humanistic apologetics directly influenced by the Florentines is charted. With regard to the Oratoire, we have attempted to illustrate and demonstrate its pervasive spirit established by its founder and the nature of the Neoplatonism of its members whose fundamental thought and spirituality were informed by Dionysian mysticism and Augustino-Platonic idealism; the problems raised by the thought of Descartes are also considered in our survey of later Oratorians. The final three chapters are devoted to Malebranche, Bossuet and Fenelon, respectively, three major thinkers of the seventeenth century who embody the philosophical, the Humanistic or apologetic and the mystical strains of Neoplatonism that we have identified and which we believe are essential to the Catholic reform of the late sixteenth and seventeenth centuries.
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Goddard, Peter Allen. "Christianization and civilization in seventeenth-century French colonial thought". Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304891.
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Tabeling, Brice. "L'écriture familière en France au XVIIe siècle". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA144.
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En 1647, dans ses Remarques sur la langue française, Vaugelas oppose « la richesse et la beauté » de la langue française aux « langues pauvres » où les équivoques « abondent ». Au XVIIe siècle en France, l’écriture familière est une pratique de la langue propre à l’espace particulier qui assume délibérément une pauvreté de langage et son équivocité. Quels enjeux les contemporains attachent-ils à ce qui est, non pas un style, mais, comme l’exprime Dominique Bouhours, un état « immature » de la langue ?Dans une première partie (chap. 1 et 2), nous nous attachons au principal modèle de l’écriture familière qui organise la discussion au XVIIe siècle : le sermo (cicéronien ou augustinien). Nous mettons alors au jour une fiction politique sous la théorisation de l’écriture familière : ce qui est en jeu dans le sermo, c’est le passage du langage des communautés primitives, langage considéré comme simple mesure affective des relations humaines à un langage différencié propre aux sociétés avancées et fondé sur la représentation et le partage du sens.Notre seconde partie (chap. 3-6) explore les bouleversements que l’autonomisation progressive de l’espace privé provoque dans la compréhension de l’écriture familière au XVIIe siècle. Aux yeux des contemporains, les usages familiers de la langue constituent à la fois une opportunité favorisant le sentiment du commun et une menace sur les ambitions civiles qui y sont attachées.Les traités sur la conversation essaient d’en limiter les dangers ; les textes libertins en exacerbent les pouvoirs de césure.Notre dernière partie (chap. 7) se consacre au théâtre de Molière. A la suite des réajustements apportés aux notions de style et de représentation par notre exploration de la théorisation classico-baroque de l’écriture familière, comment interpréter le langage comique moliéresque ?Quelles conséquences sur notre compréhension du ridicule ?In Seventeenth-Century France, familiar writing was a language practice unique to the particular space that intentionally assumed a poverty of form and multiplicity of meanings. What issues did 17th century contemporaries see at stake in what is not a “style”, but as described by Dominique Bouhours, an “immature” state of language? In the first part (chapters 1 & 2), we will focus on the principal model of familiar writing that centers the discussion in the 17th century: the “sermo” (Ciceronian or Augustinian). Thus we will shed light on a political fiction under the theorization of familiar writing: what is at stake in the “Sermo” is the passage from a language attached to primitive communities and understood as simply an affective measure of human relations to a differentiated language,unique to societies and built on the representation and sharing of meaning.The second part (chapters 3-6) will explore the disruptions that progressive empowerment of the private space provokes in the understanding of familiar writing in the 17th century. In the eyes of those who lived in the 17th century, familiar usage of language constituted both anoccasion that preferred the feeling of community, as well as a threat to civil ambition to which it is attached. Treaties on conversation tried to limit its dangers. Libertine texts exacerbated the power of its disruptions.The last part (chapter 7) is devoted to the theatrical works of Molière. Following readjustments brought to notions of style and representation by our exploration of the classico-baroque familiar writings, how does one interpret Molière’s comic language? What are the consequences for our understanding of “le ridicule”?
16
Memed, Orhan. "Seventeenth-century English keyboard music - Benjamin Cosyn". Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315899.
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Fox, Ariel. "Southern Capital: Staging Commerce in Seventeenth-Century Suzhou". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467214.
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This dissertation explores the intersection of literary and economic imaginaries through an examination of the market as both theme and structure in late imperial drama. Theater played a crucial role in helping late imperial subjects make sense of the sweeping transformations that defined China’s so-called silver century (1550–1650), a period of tremendous social volatility in which the intensification of the commercial economy that began in the Song was increasingly and acutely felt throughout the lower Yangzi region. The rapid expansion of mercantile capital, the integration of local economies into global trade networks, and the frequent fluctuations in the availability of currency had far-reaching implications for all aspects of late imperial society. While historians have exhaustively documented the flows of silver and coin, the fiscal mismanagement of the court, and the tax riots that convulsed the lower Yangzi region, less attention has been paid to the multifarious ways in which the commercialization of everyday life was experienced and understood.
At the core of my study are a group of playwrights active in mid-seventeenth century Suzhou whose plays map the moral and affective terrains of an increasingly commercialized society. Although these plays were widely read and performed throughout the Qing, they have been largely neglected in modern scholarship, due in part to their unconventional subject matter. In examining the work of the Suzhou playwrights, I am particularly concerned with how the imaginary world of the play self-consciously engages with the material conditions of its own performance. Looking at these plays not just as texts but also as performances that happened within private halls, in temples, and on pleasure boats reveals the ways in which the stage was a site for the performance of commerce itself—both in the dramatization of buying and selling and in the buying and selling of this dramatization of buying and selling. It was precisely through these nested performances in which virtually every strata of society was implicated as producers and consumers that the abstractions of commerce were made legible and the imagination of new loci of power outside the state was made possible. This dissertation asks not only how money, merchants, and commerce were represented on stage, but also how drama itself—its material history, its performance contexts, its conventions and language—informed understandings of money, merchants, and commerce.East Asian Languages and Civilizations
18
Henderson, Felicity 1973. "Erudite satire in seventeenth-century England". Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7999.
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Martin, Margot. "Essential agréments : art, dance and civility in seventeenth-century French harpsichord music /". Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103563h.
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Mason, Jon-Kris. "French language, and French manners, in eighteenth-century British literature". Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577523.
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Eighteenth-century social and political relationships between Britain and France have long enjoyed great scholarly interest, and the linguistic influence of French on English is being defined with increasing precision. Until now, however, there have been only brief stylistic considerations of the literary role played by French in eighteenth-century English prose literature. My thesis seeks to address that deficiency by investigating the literary usage and significance of French language in English literature. As the period is noted for the explosion of interest in language and its cultural ramifications; this study continuously considers the metonymical function of French usage as a signifier of broader social corollaries. This thesis attempts to forge a link between identifiable social attitudes and their incarnation in specific linguistic usage. I initially set out a context of opinion on French language and culture, and attitudes to borrowing and imitation, derived from journal, essay and treatise. Such a context demonstrates that France is unrivalled as the 'other' against which British identities were forged. Rates of lexical borrowing from French reached an historical low in the eighteenth century, and the proliferation of grammars and dictionaries bespoke a desire to define, limit, and control language. Yet the language of the developing novel, I argue, was inflected with French idiom, an idiom that offered a uniquely rich and potent strain of evocation and association. Writers of the novel, from Richardson and Smollett, to Brooke, and Burney, deploy French flexibly but with precision; each author exercises great control in borrowing idiom for purposes ranging from plot development and characterisation, to satire and pathos. My research explores those constructs, and because I found that the question of literary French usage is gendered, much of my thesis is structured along lines of gender. The letters of Lord Chesterfield, Samuel Johnson, and William Shenstone, Fanny Boscawen, Hannah More, and Lady Mary Wortley Montagu, form counterpoints to the novel, and establish areas both of commonality and divergence between French usage in the fictional and familiar prose of men and women. In its final chapter, this study turns explicitly to the wider social concerns underlying preceding discussions, viz. the significance of French usage to English manners and morals in the novels ranging from John Cleland's Fanny Hill to Charlotte Lennox's The Female Quixote. This thesis necessarily incorporates extensive but germane quotation, and embraces historical sociolinguistics, social history, stylistics, literary theory, and practical literary criticism. While this study cannot claim to be comprehensive, it seeks to open out a field of study hitherto neglected.
21
Cox, Fiona Mairi. "Virgil's presence in twentieth century French literature". Thesis, University of Bristol, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296691.
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Nagase, Mariko. "Literary editing of seventeenth-century English drama". Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3628/.
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This thesis explores how literary editing for the dramatic publication was developed in seventeenth-century England. Chapter 1 discusses how the humanist scholars embraced the concept of textual editing and put it into practice about a half century after the invention of the press. Chapter 2 addresses the development of the concept of literary editing in seventeenth-century England by investigating the editorial arguments preserved in the paratextual matter. Chapter 3 explores Jonsonian convention of textual editing which was established in imitation of classical textual editing of the humanist scholars and which eventually furnished a model for dramatic editing to the later editors who were to be commissioned to reproduce play texts for a reading public. Chapter 4 looks at Thomas Middleton’s The Mayor of Quinborough published by Herringman in 1661 which signals the restoration of the Jonsonian editorial convention. Chapter 5 will attempt to identify the printer of the play and considers the division of the editorial work between the editor and the printer. Chapter 6 addresses the reflection of the Jonsonian textual editing in the 1664 Killigrew folio and assesses its establishment of literary editing of seventeenth-century English drama as a herald of the 1709 Shakespeare edition by Nicholas Rowe.
23
Mock, Kevin. "An Analysis of the Morphological Variability between French Ceramics from Seventeenth-century Archaeological Sites in New France". Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/MockKX2006.pdf.
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Capron, Aurélie C. "Staging women : representation of female scholarship in seventeenth-century Spanish and French drama /". Diss., Digital Dissertations Database. Restricted to UC campuses, 2007. http://uclibs.org/PID/11984.
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Ngg, Genice Yan-Yee. "The inconstant "I" and the poetics of seventeenth-century libertine lyrics /". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42109.
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The dissertation argues that libertine first-person lyrics of seventeenth-century England reveal a coherent literary strategy in formal, thematic, and ideological terms. My focus is the libertine poems of Donne, Suckling, Carew, Lovelace, and Rochester. I situate the lyrics in a period of historical change, an age of epistemological and ontological questioning. Libertine lyrics concern inconstancy on various levels, from the sexual to the ontological, and they explore the problems of freedom, human nature, identity, and individualism. I argue that the libertine's inconstant selfhood is a creative "solution" to a historical dilemma. This conception of inconstant selfhood is also a response to courtly prescriptions of the behavior of poets and courtiers, a way of claiming an authoritative voice and individualistic freedom. My examination of seventeenth-century libertine lyrics shows that, as part of a transitional age, the poems manifest a contradictory character and they reveal an ideological inconsistency. However, in the final analysis, the imaginative answer to the period's problem of mutability and displacement that libertine lyrics offer turns out to be unsatisfactory. In tracing the development of seventeenth-century libertine lyrics, I suggest that the poems constitute an experimental and transitional development in the lyric tradition of male confessional desire.
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Tann, Donovan Eugene. "Spaces of Religious Retreat in Seventeenth-Century English Literature and Culture". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/277961.
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EnglishPh.D.
Religious spaces are inextricably bound to the seventeenth century's most challenging theological and epistemological questions. In my dissertation, I argue that seventeenth-century writers represent specifically religious spaces as testing grounds for contemporary theological and philosophical debates about the material foundations of religious knowledge and the epistemological foundations of religious community. By examining how religious concerns shape the period's construction of literary spaces, I contend that religion's developing privacy reflects this previously unexamined conversation about religious knowledge and communal belief. My focus on the central theological and philosophical ideas that shape these literary texts demonstrates how this ongoing conversation about religious space contributes to the increasingly individuated character of religious knowledge at the beginning of the long eighteenth century and shapes the history of religion's social dimension. I explore this conversation in two distinct parts. I first examine those writers who contend with new sensory and experiential bases of religious belief as they represent dedicated religious spaces. After considering how Nicholas Ferrar's family pursues religious knowledge through dedicated religious spaces, I argue that John Milton's Paradise Regained evaluates competing bases of religious knowledge through an extended debate about religious space and knowledge. Finally, I contend that Margaret Cavendish transforms an imagined convent space into an argument that nature serves as the sole source of religious knowledge. In the second part, I examine writers who contend with the social consequences of individual accounts of religious knowledge. The sequel to John Bunyan's Pilgrim's Progress articulates the writer's struggle to reconcile an individual epistemology with the concerns of the religious community. Like Bunyan, Mary Astell seeks to unify individual believers with her proposal for a rationally persuasive Cartesian religion. Finally, William Penn relies on the solitary space of the conscience in his advertisements for Pennsylvania. As these writers seek to reconcile the individual's role in the production of religious knowledge with religion's social manifestations, they associate religious belief and practice with increasingly private, bounded constructions of space. These complex articulations of religion's place in the world play a significant role in religion's developing spatial privacy by the end of the seventeenth century.
Temple University--Theses
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Todd, Sarah Annice. "The representation of aggression in the seventeenth-century English broadside ballad". Thesis, Aberystwyth University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311631.
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Randall, Lesa Beth. "Representations of syphilis in sixteenth-century French literature". Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284029.
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Syphilis caused unprecedented terror as it rapidly spread through Western Europe at the onset of the sixteenth century. In France, a flourish of literary production specifically about syphilis provides an important record of various reactions to what constituted the first known experience of deadly disease, sexually transmitted. This dissertation examines three types of literary representations of syphilis in texts dating from 1500-1550, by authors as familiar as Rabelais and Jean LeMaire de Belges, in addition to many that remain anonymous. With a foundation of anthropological theories of sickness as danger and pollution, psychoanalytic theory is employed to elucidate the thought processes that led to the pervasive blaming and scapegoating of women, the most common social reaction to syphilis seen in this literature. Organization of texts on the same subject into separate units was achieved by considering the tone with which they deal with syphilis. Chapter One presents and analyses Le Triomphe de Treshaulte et Puissante Dame Verolle, the only known Renaissance compilation of texts about syphilis. Reliance on allegory and myth to explain the origins and causes of syphilis make this text a prime example of socially sanctioned literary reaction to the disease, clearly the most polite discourse found to date. Chapter Two examines the cornucopian representations of syphilis found in Rabelais. As a monk, physician and writer, Rabelais had a unique and varied perspective on the disease. His text imitates, reverses or mocks most common reactions to syphilis while advancing the important message of 'temperance in all things' that forms and informs his works. Twelve popular poems, mostly anonymous, are presented in Chapter Three. Analysis of vivid, realistic descriptions of loss associated with syphilis and a discourse of warning whose foundation rests on the denigration of women demonstrate that these texts were both cathartic and didactic. A compilation and translation of the works discussed in chapters one and three appear as special appendices, so that these cultural artifacts may be considered in future studies of social reaction to deadly, sexually transmitted disease in Renaissance France.
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Fournier, Fidji. "La réception dix-septièmiste des Fables de La Fontaine : entre histoire, critiques et théories". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL136.
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Consacrée à « La réception dix-septièmiste des Fables de La Fontaine. Entre histoire, critiques et théories », la thèse réalisée s'articule autour d'une réflexion tâchant, au-delà de l'analyse de la réception historique de l'œuvre, d'effectuer, dans le cadre d'une présentation thématiquement organisée, la synthèse des discours tenus par les différents spécialistes de l'auteur s'étant, jusqu'à présent, intéressés au cas d'une réception hors norme. Après être revenue en détail sur la manière dont les Fables se sont édifiées comme chef d'œuvre et comment celles-ci ont d'emblée été construites comme monumentales par leur propre époque (1668-1700), nos travaux considèrent les différentes théories développées concernant leur réception en fonction des grands objets qui ont, jusqu'à présent, retenu l'attention de la recherche contemporaine. Pour ce faire, nous avons colligé un très grand nombre d'observations et de théories éparses que nous avons pris soin d'organiser en fonction de différents aperçus thématiques s'attachant à reprendre et à faire méthodiquement dialoguer chacune des réponses critiques apportées aux principaux questionnements que l'œuvre semble poser du point de sa réception. En revenant sur les principales découvertes de la critique dix-septièmiste concernant cette réception, nous voulions, dans le cadre d'une réflexion thématiquement problématisée autour de cette notion, offrir au lecteur un aperçu synthétique lui permettant de faire le point sur les principaux acquis de la recherche contemporaine. Pensé comme un véritable usuel de la critique lafontainienne, notre thèse se donne donc pour vocation d'enquêter sur la réception historique de l'œuvre tout en tâchant d'élargir la perspective dans le cadre d'une synthèse nuancée se plaisant à suivre, une à une, les grandes voies ouvertes par une critique qui, face à un extraordinaire succès, s'est, à bien des égards, attelée à poser la question de la réception et de la lecture de l'œuvre avant de tenter d'y apporter quelques réponsesDedicated to “The seventeenth-century reception of La Fontaine's Fables: history, criticism and theories”, this thesis will partly aim to analyze the historical reception of the work during the seventeenth-century. Nonetheless, the dissertation will mainly try, in the form of a thematically organized presentation, to do the synthesis of various speeches suggested by specialists of the author, interested in the case of an unusual reception. To this end, this work will, first of all, comment on how the Fables were built, by their own time (1668-1700), as a masterpiece. But, then, it will mainly consider the different theories developed regarding their reception. For this purpose, we collected a large number of scattered observations and theories that we then took care to organize according to different thematic overviews, trying to methodically create a dialogue between each of the critical answers given to the main questions that the Fables seem to ask from the point of their reception. By considering the main discoveries of the seventeenth-century critics concerning the Fables‘ reception, we wanted, in the form of a thematically problematized reflection, to provide the reader with a brief overview of the main achievements of contemporary research. In summary, this thesis, thought as a basic reference of the La Fontaine's critic, will aim to investigate the historical reception of the work while trying to broaden the perspective to a nuanced synthesis considering, one by one, the broad lines opened by a critic who, in the face of an extraordinary success, has, in many ways, endeavored to ask the question of the work's reception before trying to provide some answers. According to this project, the analyze will be conducted based on the large objects that have, until now, held the attention of contemporary research
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Fabris, Dinko. "Music in seventeenth-century Naples : the case of Francesco Provenzale (1624-1704)". Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268760.
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Pigney, Stephen J. "Seventeenth-century accounts of philosophy's past : Theophilus Gale and his continental precursors". Thesis, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364754.
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Bradshaw, Peter Nicholas. "The idea of anatomy in the work of seventeenth-century prose writers". Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315770.
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Gomez, Clemente Jr. "Manhood in Spain: Feminine Perspectives of Masculinity in the Seventeenth Century". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849616/.
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The question of decline in the historiography of seventeenth-century Spain originally included socio-economic analyses that determined the decline of Spain was an economic recession. Eventually, the historiographical debate shifted to include cultural elements of seventeenth-century Spanish society. Gender within the context of decline provides further insight into how the deterioration of the Spanish economy and the deterioration of Spanish political power in Europe affected Spanish self-perception. The prolific Spanish women writers, in addition, featured their points of view on manhood in their works and created a model of masculinity known as virtuous masculinity. They expected Spanish men to perform their masculine duties as protectors and providers both in public and in private. Seventeenth-century decline influenced how women viewed masculinity. Their new model of masculinity was based on ideas that male authors had developed, but went further by emphasizing men treating their wives well.
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Borilot, Vanessa. "Feminine strategies of resistance comparative study of two XIXth century French literary pieces and two XXth century French Caribbean writings /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 111 p, 2009. http://proquest.umi.com/pqdweb?did=1885467531&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Hamilton, Juliet Elizabeth. "Representations of folly in late thirteenth century French literature". Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323134.
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Kemp, Simon Robert. "Crime-fiction pastiche in late-twentieth-century French literature". Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619787.
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LiBassi, Marguerite. "Specularity in Late Nineteenth-Century French Literature and Art". ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/td/4.
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In the mid-to-late 1800s, French writers and artists resolved to shed their Romantic skins in favor of new self-conscious "husks"--to borrow Baudelaire's poetic term--that is to say: Naturalism, Realism, Impressionism and Symbolism. Some of the older reformers found themselves in an awkward, transitional stage contrary to the younger vanguardists who bore no allegiance to the past. The first group included Baudelaire, Flaubert, Courbet, Manet, Degas and Pissarro while the latter listed among its most successful members: Zola, Mallarmé, Huysmans, Morisot, Monet, Renoir and Cézanne. This thesis argues that specularity--a sort of mirror mimesis--was part of the fertile, artistic exchange between these representative writers and artists who shaped nineteenth century French literature and plastic arts during a period of turbulent social and political change. It is important not to conventionalize specular-mimesis into an automatic looking glass response between literature and art. Its primary function in this thesis is to single out, investigate and inter-relate literary and artistic chefs-d'oeuvre which, at times, bear remarkably similar hallmarks, for one reason or another. Given that cultivated conversation was highly esteemed by the Parisian bourgeoisie and held to be an elegant art form by salon and soirée intellectuals, four Dialogues constitute the internal structure of this paper. Each Dialogue is preceded by its own Cadre which serves to introduce and familiarize the reader, using a mise-en-scene framework, with background information that supports the discourse.
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Cameron, Anne Louise. "The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period". Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2531/.
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This doctoral thesis is the first comprehensive study of contemporary English translations of French lyric poetry during the Caroline period. While there has been extensive study of translations from French literature of other genres, notably drama, translations of lyric poetry have been largely ignored. The thesis examines the translations within the context of literary and cultural trends in France and England during the seventeenth century. Differing cultural tendencies and reader expectations are evident both in the selection of particular poems for translation, and in the changes translators made to their source texts. Chapter one contains background information on the social and literary relations between France and England during the seventeenth century, and an overview of the social and political conditions in which poetry was written in each country. Chapter two investigates where and how translators obtained the texts of the poems they translated, and in particular the use of the recueils collectifs as sources for translations. Chapters three, four and five provide a thematic overview of the most significant and interesting translations. The themes chosen - eroticism, love and nature - constitute those most popular with translators, and the representation of these themes in both the original poems and the translations is closely connected to wider literary and cultural tendencies in both France and England. Having provided a thematic overview of the translations, chapters 6 and 7 examine some of the more technical and linguistic aspects of the practice of translating from contemporary French poetry in Caroline England. Chapter seven studies the translation of the French lyric voice, and the effects of this on the representation of themes, particularly love and nature. Chapter eight examines the English treatment of some aspects of seventeenth-century French prosody, placing these and the changes made by translators in the context of prosodic developments in both France and England. The conclusion highlights patterns identified in translators' handling of the source texts; these draw attention to the literary and cultural differences between France and England in the seventeenth century, and demonstrate that French poetry is altered in English translation to suit the tastes of translators and their intended English readership.
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Carrell, Toni L. "From forest to fairway : hull analysis of 'La belle', a late seventeenth-century French ship". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/2798.
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This thesis is a comprehensive analysis of the hull remains of La Belle, a ship wrecked off the coast of Texas in 1684 during the failed attempt by Robert Cavelier Sieur de La Salle to establish a colony at the mouth of the Mississippi River. The analysis of La Belle's hull focused on five research goals. The first was to reconstruct the conception and design of the hull. Because La Belle was built on France's Atlantic coast, it was expected that the ship would fit into Atlantic traditions of shipbuilding. Instead, it exhibits an ancient Mediterranean method known only from Renaissance manuscripts. Until La Belle's discovery no archaeological example associated with this method had been identified. Reconstruction of the lines also revealed the unexpected use of surmarks that reflect a transition from a largely empirical approach to the architecturally-based ship plan. The second goal was the documentation of a previously unstudied ship type, the barque longue, through an analysis and description of the hull's assembly and its comparison to contemporary shipbuilding practices. The third goal was an analysis of newly discovered registries, letters, and documents specific to La Belle that raised fundamental questions regarding the ship's genesis and typological identification. The fourth goal was species identification of the timbers to provide a more detailed picture of forest exploitation and to identify whether Old or New World timbers were used in the repairs noted in the hull. The fifth goal was to obtain information on the origin of the wood through dendrochronological analysis. That analysis raised unexpected questions regarding dating and the possibility of re-use of whole frame sets. Because there are no other investigated late 17th-century shipwreck sites from the Rochefort region with species and dendrochronology data, La Belle has provided a benchmark for these two analyses. These five research foci provide a unique picture of late 17th-century shipbuilding in French Atlantic shipyards and contribute to the study of hull design, ship typology, construction and assembly, wood species use and origin, dendrochronological dating, and timber reuse.
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Longust, Bridgett Renee 1964. "Reconstructing urban space: Twentieth-century women writers of French expression". Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282108.
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This dissertation examines the importance of urban space in the works of feminist writers from France, Quebec, the Maghreb and Francophone West Africa. Each author writes women as subjects of their own experience in the city, identifies the representations of power and gender in urban landscapes, restores a feminist voice to the polis and supports women's claim to enfranchisement in urban space. My analysis is based upon the fundamental premise that urban space reflects power dynamics and is, like gender, a social and political construction borne of a dominant patriarchal ideology. The urban type of the female flaneuse, or ambulant heroine, is prevalent in several of the texts. These are women whose personal trajectories through the metropolis serve as a common referant to define their identity. Exploitation, disciplinary surveillance and disillusion characterize (1) Claire Etcherelli's urban dystopia in Elise ou la vraie vie. (2) Annie Ernaux's observations of life in the periphery of Paris in the Journal du dehors are centered on the market economy of the city and women's status as commodity. The deviant behavior of (3) Andree Chedid's virtually homeless, elderly heroine in La cite fertile thinly veils a provocative inquiry into the notion of urban identity. (4) Christine de Pizan and the Quebecoise writer, (5) Nicole Brossard both employ the metaphor of construction--architectural and textual--and share utopian visions of women's writing as the site for feminist praxis and cultural transformation. (6) Nina Bouraoui's cloistered Algerian heroine in La Voyeuse interdite and the women in (7) Assia Djebar's novels dare to defy and transgress the boundaries which exclude women from the urban realm in the Maghreb. (8) Calixthe Beyala's novels depict young African women struggling with issues of identity and survival in metropolises dominated by a repressive, patriarchal mentality. Throughout the texts, the city appears in multiple guises: as a text, a body, a marketplace, and a prison. For these authors, writing on the city constitutes a feminist act asserting women's right to claim a voice in that space. These works situate the city as a locus of cultural and political critique, whose spatial configurations reflect the social constructions of gender.
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Woodring, Catherine. ""Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987.
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The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. As such a transformative and ambivalent power, poison was called upon precisely as stage revengers turned to vengeance, as revenge was, at its core, concerned with the breaking and making of boundaries. As such, playwrights turned to both literal and metaphorical poisons in their plays of vengeance to stage the excesses of contagion. I contend that all of the plays under consideration in my dissertation uniquely represent the bounded alongside the boundless. In the process, they dramatize the surprising paradoxes of revenge. By staging, often uneasily, the potential for revenge to “have no bounds,” dramatists more radically explored the perverse appeal and power of their own art.English
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Makin, William Edward Anselm. "The philosophy of Pierre Gassendi : science and belief in seventeenth-century Paris and Provence". Thesis, n.p, 1985. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.245767.
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Bane, Michael Alexander. "Honnêtes Gens as Musicians: The Amateur Experience in Seventeenth-Century Paris". Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1463748641.
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Armstrong, Catherine. "Writing North America in the seventeenth century : English representations in print and manuscript /". Aldershot [u.a.] : Ashgate, 2007. http://www.loc.gov/catdir/toc/ecip076/2006101292.html.
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Hollsten, Laura. "Knowing nature : knowledge of nature in seventeenth century French and English travel accounts from the Caribbean /". Åbo : Institutionen för språk och kulture, Humanistiska fakulteten, Åbo Akademi, 2006. http://www.loc.gov/catdir/toc/fy0713/2006499859.html.
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Downing, Lisa Michelle. "Desire and immobility : situating necrophilia in nineteenth-century French literature". Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:ccbb5b9e-58da-4d36-901b-bd71112f3c05.
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Ganofsky, Marine. "Night in eighteenth-century French libertine fiction (1730-1789)". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610662.
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Leavens, Janet Kristen. "Figures of sympathy in eighteenth-century Opéra comique". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/844.
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Eighteenth-century opéras comiques often turn around moments of sympathy--moral and affective bonds through which the Enlightenment imagined a natural basis for the social order as well as the pleasures and transformative potential of art. Through musico-literary analysis informed by models of moral and aesthetic relationality that I derive from Dubos, Marivaux, Rousseau and Diderot, I argue that opéras comiques written and performed between 1835and the Revolution feature three distinct forms of sympathy: 1) a worldly-sensuous sympathy most typically found in the common subgenre of the sentimental pastorale and characterized by a happy blending of moral and sensual connections; 2) an amorous intersubjectivity found occasionally in sentimental comedies and characterized by a sometimes empowering, sometimes trying encounter with an other experienced as a site of subjective freedom; and finally 3) a sacrificial sympathy found most frequently in Michel-Jean Sedaine's sometimes pointedly anti-worldly, morally sober lyric dramas and characterized by an obstacle-triggered leap into an identificatory, affective imagination.
Although there is much that distinguishes these forms of sympathy, they are all shaped by eighteenth-century empiricist assumptions as to the existence of a basic relationality between the self and his or her social environment and thus resist a standard critical model that sees such emotional ties as merely the effect of some more fundamental separation between self and other.
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Bell, Maureen. "Women publishers of puritan literature in the mid-seventeenth century : three case studies". Thesis, Loughborough University, 1987. https://dspace.lboro.ac.uk/2134/7495.
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This thesis looks beyond the stereotypes of women as transmitters and caretakers of businesses by focussing on the careers of three women, one a widow who remarried, one a woman with no apparent family connection with the trade, and the third another widow who carried on the business for almost ten years after the death of her husband. Their careers are reconstructed from biographical data and the details of their publishing output. Emphasis is placed on the relationship of individuals to the sectarian communities for which they published, and on the ways in which sectarian material came to be published and distributed. The studies suggest ways in which women's inferior legal status could protect them in their 'seditious' activities, and reveal the inadequacies of attempts to control the press during the period 1645-75. Hannah Allen's output demonstrates her development over a brief period of a specialized trade in books representing the strand of Independent thought which grew into Fifth Monarchism, and her emergence from economic dependency on partnerships to become a publisher in her own right. Mary Westwood's career reveals a level of publishing outside the London book trade and concerned exclusively with a Quaker market largely in-the provinces. The career of Elizabeth Calvert is examined both before and after the death of her husband in order to investigate her role in a leading radical bookseiling business. -' Her later activities provide evidence of the shortcomings of the 1662 'Licensing, Act, and confrontations between a group of 'Confederate' women and the authorities suggest how women could avoid punishment despite their persistent publishing of nonconformist and opposition literature.
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Stanley, Alison. "Language and identity in the literature of the seventeenth-century New England Puritans". Thesis, King's College London (University of London), 2012. https://kclpure.kcl.ac.uk/portal/en/theses/language-and-identity-in-the-literature-of-the-seventeenthcentury-new-england-puritans(e8dcb8d8-a634-494f-80e3-d8dbd6078c69).html.
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Seventeenth-century migrants to New England found themselves in a new and unsettling situation, surrounded by alien European and indigenous groups, whose different languages, cultures and religious beliefs questioned and sometimes threatened the beliefs of the settlers. This thesis examines the points at which the colonists came into contact with other cultures, and analyses what these interactions can tell us about how identity was constructed and displayed in the period. I do this largely through analysis of the ways language was used and discussed in contemporary texts printed in London and Massachusetts which aimed to influence readers’ views of colonial identities. By looking at a series of specific challenges when language or issues relating to it became contentious or important, as detailed below, I argue that language was intrinsically connected to English Puritan identity in the period. My first chapter discusses contemporary language textbooks by Williams and Eliot, analysing the ways in which different presentations of similar Native American languages offer insights into the ways contemporary thought linked language to culture and identity. The next two chapters examine the ways language was linked to Puritan religious identity by discussing colonial responses to two new challenges to their beliefs in the 1650s: firstly, the request of the Praying Indians to be accepted into the colonial churches; and secondly, the denunciations of the colonial churches made by visiting Quakers. The final two chapters discuss questions of language and translation during the traumatic events of King Philip’s War. Chapter four analyses war writing which used Old Testament narratives to re-interpret early defeats, and to excuse acts of violence and destruction perpetrated by colonial forces. The final chapter examines depictions of Indian language during the war, and argues that refusals to discuss the problems of intercultural translation and descriptions of Indians speaking broken English are two manifestations of the same changing attitude to language and identity.