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Sánchez, Estefanía Bernabé. "Signa Iudicii : orígenes, fuentes e tradición hispánica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/169005.
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A tese tem por objetivo estudar a evolução da lenda dos signa iudicii na literatura da península ibérica, uma matéria que descreve os vários signos que haverão de preceder ao Juízo Final, um ato solene de justiça coletiva presidido pela divindade. Trata-se de um repertório de sinais escatológicos, de ampla natureza (atmosférica, lendária, geológica, espiritual), que tem suas raízes na apocalíptica primitiva, nos livros dos Oracula Sybillina e em alguns escritos apócrifos judeu-cristãos dos primeiros séculos da nossa era, claramente associada ao que temos denominado fator medo e visando uma propagação do furor dei e do sentimento de contrição através da sua inserção no imaginário social colectivo. A matéria teve imensa repercussão nas tradições gaélica, anglo-saxônica ou latina, e a recolhem autores como Lactancio, Orígenes ou Comodiano, até o próprio Agostinho de Hipona na sua Civitate Dei. A partir daqui, sua difusão será ampla, primeiro em latim e depois nas diferentes línguas vernáculas occidentais, com uma clara função proselitista. Em primeira instância, amplia-se nas penas de vários teóricose exegetas do cristianismo durante os séculos X, XI e XII. A partir do século seguinte se introduz na península ibérica, seguramente através da fronteira com França e do Caminho de Santiago. De meados do século XIII data o primeiro texto peninsular até agora a ela dedicado, um poema de Gonzalo de Berceo, Los signos que aparecerán antes del Juicio. A matéria entra em claro desuso a partirde finais do século XVII com a irrupção do racionalismo epistemológico, sendo uma versão livre e decimonónica de Diego Santos Lostado a última incursão hispânica no tema. Paralelamente às versões cristãs medievais, aprofundamos também na incidência que a matéria teve entre vários autores muçulmanos peninsulares ao longo dos séculos. Rastrear as fontes e desvendar os vínculos entre as versões ibéricas, latinas e primitivas da tradição será o alvo principal do trabalho.<br>La tesis tiene por objetivo estudiar la evolución de la leyenda de los signa iudicii en la literatura de la península ibérica, una materia que describe los varios signos que habrán de preceder al denominado Juicio Final, o acto solemne de justicia colectiva presidido por la divinidad. Para varias tradiciones religiosas, se trata de un repertorio de señales escatológicas, de amplia naturaleza (atmosférica, legendaria, geológica, espiritual), que hunde sus raíces en la apocalíptica primitiva, en los libros de los Oracula Sybillina y enalgunos escritos apócrifos judeo-cristianos de los primeros siglos de nuestra era, claramente asociado a lo que hemos denominado factor miedo y visando unsentimiento de contrición a través de su inserción en el imaginario social colectivo. La materia tuvo inmensa repercusión en las tradiciones gaélica, anglosajona o latina, y la recogen autores como Lactancio, Orígenes o Comodiano, hasta el mismo Agustín de Hipona en su Civitate Dei. A partir de aquí, su difusión será dilatada, primero en latín y después en las diferentes lenguas vernáculas occidentales, con una clara función proselitista. En primera instancia, se amplia en las plumas de varios teóricos y exégetas del cristianismo durante los siglos X, XI y XII. A partir del siglo siguiente se introduce en la península Ibérica seguramente a través de la frontera con Francia y del Camino de Santiago. De mediados del siglo XIII data el primer texto hispánico hasta ahora a ella dedicado, un poema de Gonzalo de Berceo, Los signos que aparecerán antesdel Juicio. La materia entra en claro desuso a partir de finales del siglo XVII con la irrupción del racionalismo epistemológico, siendo una versión libre y decimonónica de Diego Santos Lostado la última incursión hispánica en el tema. Paralelamente a las versiones cristianas medievales, profundizamos también en la incidencia que la materia tuvo entre varios autores musulmanes peninsulares a lo largo de los siglos. Rastrear las fuentes y desvendar los vínculos entre las versiones ibéricas, latinas y primitivas de la tradición será el objetivo principal del trabajo.
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Kouneni, Garyfallia. "Antiquity through medieval eyes : the appropriation of antique art in the Trecento." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/727.
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Bridges, Venetia Rachel Lucy. "Writing the past : a comparative study of 'the Classical Tradition' in the works of Walter of Châtillon and contemporary literature, 1160-1200." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610518.
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Comshaw-Arnold, Benjamin W. "Feudalism in Decline: The Influence of Technology on Society." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1399675397.
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Powers, Ashley. "The Commerce Of Time: The Influence Of Thirteenth Century Commercial Society On The Conception And Expression Of Time In Parisian Poet Rutebeuf’s Corpus." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469089012.
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Rasmussen, Claire. "Circular Inspirations: Medieval Mediterranean Influence in the Treasury of San Marco." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1556730752971936.
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Sinclair, Kyle James. "War writing in Middle Byzantine historiography : sources, influences and trends." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3977/.
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This thesis examines literary and cultural influences upon descriptions of warfare in Byzantine historiography, focusing on events of the ninth to twelfth centuries. Its main aim is twofold: to account for the appearance in historiography of more ‘heroic’ accounts of battle from the late tenth century, and to identify the sources Middle Byzantine historians employed for military events, particularly since this material appears to have had a significant role in the aforementioned development. Study of Middle Byzantine historical works grants insight into general features of war writing. Moreover, it also reveals much about the working methods of historians and the written sources they employed for military episodes. These sources, now lost to us, are determined to have primarily been campaign reports and biographical compositions. Once an understanding of the nature of such texts is reached, one may demonstrate that they presented their military subject according to contemporary ideals of valour and generalship. It is suggested that the appearance of promotional literature of the military aristocracy in the tenth century was instrumental in the development of a more ‘heroic’ form of war writing, with Homeric-style descriptions of battle, cunning military stratagems, and courageous displays more evident in historiography from this time.
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Law, Marita. ""Piers Plowman": The influence and the effects of sermon structure and rhetoric in the B Text." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185030.
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Critics have offered many views about the structure of Piers Plowman. Provided with few clues, they have tried to determine from the dominant features the poem's organizing factors. However, since 1926, when G. R. Owst suggested in Preaching in Medieval England that the meaning of Piers would become clear if the poem were compared in its thematic and artistic elements with sermon literature (295-296), only a few critics have discussed Langland's use of the sermon form. This present study argues that Langland structured his poem as a sermon to answer the Dreamer's question, "How I may saue my soule?" (B. I. 84), and to explain that salvation is attained by knowing and observing the love commandments, a Scriptural theme frequently treated in the sermons of the time. By comparing the structure of Piers with that of the sermon as Robert of Basevorn describes in Forma praedicandi (1322), I show that Langland forms his poem with the use of sermon "ornaments": invention of theme, antetheme/protheme, prayer concluding the antetheme, restatement of theme, division and confirmation of divisions, and concluding prayer. In addition, I show that the visions and passus, which are interrupted with the Dreamer's awakening, form subdivisions in each of the sections. I also show that Langland uses dream-allegory, dramatic-narrative, and satirical exempla to embellish his explanation of salvation. This parallel of the "art" in Langland's poem with the "art" of preaching shows that the poem has a definite structural and thematic unity and that the logical plan makes Christian belief concerning salvation understandable, instructive, and persuasive.
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Smith, Nathanial B. "Dreams of influence embodied reading in late medieval and Renaissance English literature /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3330817.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2008.<br>Title from PDF t.p. (viewed on Jul 22, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3963. Adviser: Judith H. Anderson.
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Nettles, Isolde Betty. "Mamluk cavalry practices: Evolution and influence." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289748.
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Mamluk equestrian expertise in Egypt and Syria from mid-thirteenth to early sixteenth century reflects skills derived from a variety of sources incorporated artfully into their military institution, and which exerted influence beyond the period and the region with which it is directly concerned. With a thorough examination of its various vocations including Furusiyah and equestrian-related activities, a reconstruction of the Mamluk military society leads to the inescapable conclusion that the mounted military sector was absolutely essential to the operation and defense of the State. Maintaining a top-notch cavalry fluctuated at different periods in Mamluk history but seems to have been especially crucial in the first twenty years in the wars against the Crusaders and Mongols. The Mamluk's armies are credited with having cleared the remnants of the Crusaders out of the Levant region, checked the westward advance of the fearsome Mongol hordes into Syria and Palestine, and carved out an empire that extended northwards as far as eastern Turkey. How and where the Mamluks acquired the tactical and riding expertise to accomplish these feats is examined in this dissertation along with the legacy they passed on to later Egyptian and French horsemen. Classical equitation's origins trace to a period of progressive development in horsemanship's history stimulated by Mamluk preoccupation with furusiyah as well as the French Knights' chivalric tournament and battle honor code. Mamluk horsemanship literature left in manuscript form contains systematized military games and tactics patterned after the ancient Greco-Roman world's military, joined with Mamluk cavalry training experience. The main corpus of surviving horsemanship treatises from the Mamluk period awaits translation and/or remains unpublished.
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Voigt, Suzann Wanda. "The Boethian Influence on the "Alliterative Morte d'Arthure"." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625746.
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Elia, Catherine Ann. "Medieval Christocentric Imagery in Selected Novels by Georges Bernanos." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5024.
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In the fictional world of the twentieth century author, Georges Bernanos, a medieval spirituality is reflected through Christocentric imagery. This study highlights the Christocentric focus of medieval spirituality found in three bernanosian characters: Donissan in Sous le Soleil de Satan, Chantal in La Joie, and le cure d'Ambricourt in Journal d'un cure de campagne. Two medieval images, the Mirror and the Way, provided a backdrop for considering common thematic characteristics. This study is divided into two parts. Part One comprises two chapters which present background for textual analysis in Bernanos' three novels. Chapter one explores formative elements in medieval spirituality. These include: descriptions of the medieval mindset, clerical and ecclesial influences, devotional trends related to themes of Christocentric imitation, edification images, specifically, the Mirror and the Way, and chivalry. Chapter two presents formative elements in Bernanos' spirituality. Familial, clerical and ecclesial influences of his childhood contributed to his Christocentric spirituality. Biographical descriptions of Bernanos' adolescent and adult years reveal similarities of his lived experience to medieval themes of pilgrimage, chivalry and imitation. In Part Two, Donissan, Chantal and le cure are considered in the context of medieval trends to imitate Christ. Images of the Way and the Mirror emerge in the four chapters of this section. In chapter three, a textual analysis is presented which juxtaposes virtuous qualities of each main character to the virtues of the medieval devotion to the Infancy. In chapters four and five, the characters are described in relation to another major devotional trend of medieval times: the Passion. Chapter four considers the bernanosian saints as imitators of Jesus' agony while chapter five addresses their imitation of his Way of the cross. In both chapters, imagery related to medieval Christ-like imitation is identified. Chapter six highlights themes of death and resurrection, the culminating steps of the medieval journey of imitation. Descriptions of Bernanos' saintly instruments of grace emphasize their adherence to the medieval pursuit towards wholeness. Dawn imagery and the theme of communion of saints are treated in this discussion of transformation. Endnotes accompany each of the six chapters.
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Distefano, Michel G. "Inner-Midrashic introductions and their influence on introductions to medieval Rabbinic Bible commentaries." Berlin New York, NY de Gruyter, 2008. http://d-nb.info/993395880/04.
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Distefano, Michel G. "Inner-Midrashic introductions and their influence on introductions to medieval rabbinic Bible commentaries." Berlin, New York de Gruyter, 2009. http://www.reference-global.com/doi/book/10.1515/9783110213690.
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Broadwater, Marianne Elizabeth. "The Role of Popular Culture in Language Borrowing Between French and English." Wright State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=wright1195238224.
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Gabr, Aly Hatem. "The influence of traditional Muslim beliefs on medieval religious architecture : of the Bahri Mamluk period." Thesis, University of Edinburgh, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534491.
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Mamlük medieval religious architecture was designed and built through a process which involved a deep knowledge of Sufism, the inner dimension of Islam. Through the symbolism implicit in this process, the external, limited, and sensible forms of these buildings carried within themselves inner transcendental qualities. This thesis adopts the traditionalist approach which has its foundation in objective truth based on Islamic metaphysical interpretations. This approach is applied to reach the symbolism of medieval religious buildings, focusing specifically on the Bahri Mamlük period in Cairo as a case study. The need for such a study is twofold: firstly, to know the truth about the intent and design process of the medieval Mamlük tradition; and secondly, to see if it is possible to formulate new guidelines for contemporary architects to use in today's mosque designs. Medieval historical sources emphasize that the Mamlük society had its roots in Sufi thought. Sultäns, emirs, scientists, intellectuals, the common people, and even some of the `ulama', respected and participated in Sufi rites. The hypothesis behind this study is that the Sufi thought which pervaded Mamluk society at large must have influenced the craftsmen who produced artifacts, particularly the sacred ones. A purely historical approach is used to introduce the buildings of the case study. This immediately raises several queries that have either been answered inadequately, or remain unanswered within a stylistic and historical approach; this shows the limitations of its scope of interpretation. By adopting the traditionalist approach it is possible to re-create the traditional Mamlük context applying both exoteric and esoteric dimensions of interpretation to these buildings. The context consists of both the setting and the design and building processes involved in creating a traditional product, as well as the traditional view of the relationship between the Süfi masters, the Süfi craftsmen, and the general craftsmen who were not necessarily Sufis. It is here that the relation between the symbol and the act of "creation" of traditional forms is revealed from a SO point of view to imitate the process of Divine Creation. This line of argument is adopted and applied to the different notions of architectural form which are in turn analyzed from a traditional viewpoint. Subsequently, specific architectural analyses reveal several layers of understanding in the symbolism of traditional religious buildings: the level of the elements, the level of the relationships which incorporates several elements visually and results in a second layer of symbolism, the temporal level through the sequence of spaces of a building which gives yet a further dimension to this wholistic system of symbolism. Bafiri Mamlük cases are analyzed at these three levels, and the results confirm the value of the methodology adopted in this thesis. The findings bring about a more vivid picture of how and why a traditional member of the society designed and used these buildings down to their constituents. It is at this level where architect, craftsman, and user are unified in their relations to the traditional artefact that the symbol of unity is found to be operative. The thesis ends in a general review of how a traditional prototype would have been created in the Bafiri Mamlük period. The benefits of adopting the traditionalist approach in order to re-create a lost tradition are then discussed. This is followed by a review of the basic differences between the modern and traditional processes, which sheds light on the extent of our contemporary displacement from our traditional past. The question of the relevance of this study to the contemporary situation is raised. It is here that it becomes evident that there can be no return to traditional principles while living in a modernistic society governed by modern values. The suggestion that is set forth is that there must neither be a faked tradition nor a faked modernity. If the contemporary architect is to make use of such traditional findings and symbolisms, he must first adapt his method of form-creation by learning from the principles of the traditional process so as to be able to reuse them to fit the society's contemporary needs and using the means of today.
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Bhattacharji, Santha Indira. "The influence of the liturgy on Middle English literature : some problems and possible applications, with special reference to 'Pearl' and 'Cleanness'." Thesis, University of Bristol, 1991. http://hdl.handle.net/1983/2c0986a5-c289-4fa0-ae6b-2ac1ae01e263.
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Amlé, Anton. "Black Pool : Hiberno-Norse identity in Viking Age and Early Medieval Ireland." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-227470.
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This paper is aimed at mapping important traits in a Hiberno-Norse identity. This is the main focus of the essay, but another important part is to problematize this using several theoretical approaches of which the main are identity, creolization and hybridization. The Hiberno-Norse culture being primarily an urban phenomenon, the thesis is delimited to the Hiberno-Norse towns with occasional comparisons to Scandinavia to see how the native Irish population influenced the invaders and how they gradually evolved into the Hiberno-Norse. Early on the Norse show signs of creolization that would ultimately lead to the creation of the Hiberno-Norse hybrid culture known from history and archaeology – an urban culture that show blended Norse and Irish features.<br>Denna uppsats är till för att sammanställa viktiga uttryck I en Iro-Skandinavisk identitet. Detta är huvudsyftet med uppsatsen, men en annan viktig del är att problematisera detta genom flera teoretiska begrepp, där de främsta är identitet, kreolisering och hybridisering. Då den Iro-Skandinaviska kulturen framför allt var ett urbant fenomen har uppsatsen avgränsats till de Iro-Skandinaviska städerna, med sporadiska jämförelser med Skandinavien för att se hur den inhemska Irländska befolkningen influerade angriparna och hur de skulle komma att utvecklas till Iro-Skandinaverna. Tidigt uppvisar nordborna tecken på kreolisering, som till slut skulle leda till uppkomsten av den Iro-Skandinaviska hybridkulturen känd från historian och arkeologin – en urban kultur som uppvisar blandade nordiska och irländska drag.
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Black, Kirsty Louise. "'Those been the cokkes wordes and not myne' : medieval influences on the structure of David Jones's The Anathemata." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497840.
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My thesis examines the ways in which David Jones was influenced by medieval literature and thought whilst composing his long poem, The Anathemata. Although several critics have acknowledged Jones's interest in medieval culture, none has analysed the full extent of the medieval contribution to the poem. My thesis suggests that it is far greater than has previously been thought, and has in fact determined the form and the overall structure of the poem.
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Neste, Berit Van. "Cicero and St. Augustine's Just War Theory: Classical Influences on a Christian Idea." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001467.
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Spreadbury, Joanna Mary. "Gloriosa Praedicatrix : the origins, development and influence of the medieval legends about Saint Mary Magdalen as preacher and apostle." Thesis, King's College London (University of London), 2001. https://kclpure.kcl.ac.uk/portal/en/theses/gloriosa-praedicatrix--the-origins-development-and-influence-of-the-medieval-legends-about-saint-mary-magdalen-as-preacher-and-apostle(57fd30ce-759b-42b4-b474-f73fad2377cf).html.
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Carotenuto, Federico. "Influenza di un assetto urbanistico-architettonico medievale sulle dinamiche del particolato atmosferico: gli street-canyon bolognesi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amslaurea.unibo.it/1885/.
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Jenkins, David. "The layout of the temple of Jerusalem as a paradigm for the topography of religious settlement within the early medieval Irish church." Thesis, University of Wales Trinity Saint David, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683281.
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Carter, Kendra Makenzie. "Necessity Rather than Influence: The Use of Satirical Elements by Dante Alighieri and Geoffrey Chaucer as a Result of the Social Conditions During the Middle Ages." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/486.
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This thesis compares the modes of satire utilized by Dante in the Divine Comedy and Chaucer in theCanterbury Tales, and considers the direct and indirect historical and religious influencers which impacted each author’s satirical style.
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Suzuki, Takeshi. "Legado português na cultura japonesa: as artes, as ciências, os artefatos, as comidas, as palavras e ...o Teppō." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-29082018-135827/.
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Este trabalho apresenta o quadro da época da chegada dos portugueses no Japão e da sua ação por quase um século em terras nipônicas. A Europa dos séculos XV e XVI era o centro da civilização ocidental, e os portugueses, espanhóis e italianos ocupavam a posição de destaque de controladores e donos do comércio com o oriente médio e a China, via Mar Mediterrâneo e por terra. Os portugueses e os espanhóis, grandes navegadores, ao se aventurarem pelo mar, foram descobrindo e conquistando novas terras e obtendo com isso grandes vantagens de comércio e de divisas. Por outro lado, o Japão, arquipélago isolado e imerso em guerras civis, com muitos conflitos, não tinha a integração de suas unidades, e o desfecho da unificação dos reinos acabou ocorrendo com a ação dos grandes senhores suseranos, os daimyō Oda Nobunaga e Toyotomi Hideyoshi. Os primeiros portugueses - mercadores e missionários - que aportaram no Japão nessa época, por muitos chamada de \"Grandes Navegações\", encontraram o Japão sob o domínio de Nobunaga e Hideyoshi. O primeiro era receptivo, tolerante e pragmático, não se envolvia com a crença, mas servia-se da religião como instrumento para auferir resultados vantajosos desta relação com os portugueses. À primeira vista, o catolicismo foi bem aceito pelas autoridades, por sacerdotes xintoístas e budistas e, consequentemente, também pela comunidade em geral, pois os preceitos do budismo eram julgados coerentes com os \"Dez Mandamentos\" pregados pela Igreja cristã. Posteriormente, com o passar do tempo, os monges budistas e xintoístas sentiram seu espaço ameaçado pela expansão do catolicismo e muitos atritos ocorreram envolvendo adeptos das facções religiosas. As autoridades, sentindo a inconveniência das ações dos católicos e ajudadas pela interferência dos holandeses - que haviam ganho a simpatia dos japoneses -, conseguiram tirar os comerciantes portugueses do caminho, assegurando a exclusividade do comércio juntamente com os chineses, alegando que os ibéricos estariam tramando a tomada do país por meio da disseminação da religião católica. Com isso o governo japonês vetou qualquer atividade religiosa católica no país, promovendo a expulsão de todos os portugueses, espanhóis e italianos, envolvidos ou não com a religião. Apesar de a estada dos portugueses ter sido limitada a 96 anos, este trabalho ressalta o mérito das ações realizadas pelos mercadores e pelos missionários que deixaram um legado importante para os japoneses de então, bem como para as gerações seguintes, servindo de base para outras contribuições que viriam dos holandeses e chineses, que ocuparam o espaço dos retirantes latinos. De todas as contribuições efetuadas pelos portugueses e que influenciaram a cultura japonesa, a que mais impactou na política e na sociedade japonesa foi realmente a introdução das armas de fogo, as espingardas, cujo desdobramento deu outro rumo para a história do Japão.<br>This thesis presents a state when Portuguese arrived in Japan, and their actions for almost a century in Japanese land. At that time, Europe was the center of occidental civilization and Portuguese, Spanish and Italians were leaders as market controllers and masters of Middle East and China zones, by Mediterranean Ocean and by land. Portuguese and Spanish, great navigators explored the oceans, discovering and conquering new lands obtaining huge benefits in trade and money. At the other hand, Japan, an isolated archipelago and under civil wars with many conflicts, with no integration of their unities, the unification only were be able to be achieved by actions of great lords as Oda Nobunaga and Toyotomi Hideyoshi. When the first Portuguese, merchants and missionaries, ashored Japan, the country was under Nobunaga and Hideyoshi domain, the first one, who welcomed them but not concerning with religion affairs, only shown interests in beneficial gains relating with them. In a first moment, the catholicism was accepted by Government officials and shinto and buddhist priests , consequently also by the people, because it was thought that catholic precepts were coherent with buddhist ones. Lately, buddhist and shinto priests felt a fear with the expansion of catholicism, and troubles started to occur within religion groups. Government officials also feeling the inconvenience of actions of catholic priests and aided by Dutchmen interference, interested in keeping away the Portuguese merchants, gained confidence of Japanese Government officials, alleging that they were attempting to subjugate the people by dissemination of catholicism. Due to that, any catholic religion activity was banned, ending with the expulsion of all Portuguese, Spanish and Italians, missionaries or not. In spite the stay of Portuguese in Japan was limited to 96 years, its showed the merit of works developed by merchants and missionaries, who left an important heritage to Japanese people, as well as for following generations as base for other foreign contributions, as Dutchmen or Chinese. For all contributions made by Portuguese, that so influenced Japanese culture and the most impact caused was really the introduction of firearms that promoted another course of the Japanese History.
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Hunt-Logan, Cameron. "The influence of the "Book of Job" on the Middle English morality plays." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001794.
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Hahnwald, Sandra. "Historical land use in Scandinavia and its influence on carbon storage in soil and peat in the boreal landscape." Thesis, Umeå universitet, Institutionen för ekologi, miljö och geovetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-114929.
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The history of land utilization in Scandinavia is characterized by two major periods of open landscape. The first one temporal ranged from cal. AD 0-500 and the second one ranged from cal. AD 1200-1900 including the medieval crisis in Scandinavia. Both periods were characterized by animal husbandry and intensive grazing as well as cultivation. However, slash-and-burn-cultivation and hay production on mires and meadows were prevailing during the medieval crisis. These activities significantly altered the concentration of transported organic carbon (OC) from the terrestrial ecosystem to inland waters. Burning and grazing decreased the terrestrial OC and water table, due to reduction of biomass, whereby burning has a greater effect. Biennial scything of mires for hay production reduced the biomass as well, hence resulting in a decreasing water table and peat accumulation. Even though two periods of open landscape has been present in the historical land utilization of Scandinavia, only the latest one resulted in a decreasing OC concentration in surface water in boreal lake. This indicates that especially the slash-and-burn cultivation and hay production on mires are very important components of altering the carbon storage in soils and peat due to lowering the terrestrial OC pool.
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Machado-Matheson, Anna-Maria. "Madness as penance in medieval Gaelic sources : a study of biblical and hagiographical influences on the depiction of Suibne, Lailoken and Mór of Munster." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609646.
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Jacquart, Danielle. "Lectures médiévales du Canon d'Avicenne : la médecine parisienne aux XVIe et XVe siècles." Paris 4, 1998. http://www.theses.fr/1998PA040086.
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Le commentaire de jacques despars (env. 1380-1458) sur le canon d'avicenne fut imprime en trois volumes in-folio a lyon, en 1498. Il constituait le premier commentaire sur ce texte ecrit par un maitre parisien au moyen age, alors que le genre fut illustre a plusieurs reprises en italie depuis la fin du xiiie siecle. Cette these retrace l'histoire des ecrits medicaux parisiens, afin d'expliquer cet interet tardif pour l'explication d'un texte aussi repandu et utilise. Les conditions de l'enseignement a la faculte de medecine, les rapports qu'il entretint avec celui de la chirurgie, ainsi que les interets varies des maitres sont analyses. Une attention particuliere est portee aux ecrits composes en moyen francais, destines soit a delivrer des conseils pratiques, soit a diffuser des connaissances medicales, voire a exprimer une pensee personnelle, en dehors des habitudes du latin scolastique.
30
Roberts, J. C. "The influence of Aristotle on late medieval ethics : a study of the treatise 'De via paradisi' by Remigio de' Girolami O. P., (d.1319)." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305855.
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Williams, Jonathan C. "The Boreal Borges." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3597.
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Jorge Luis Borges's story "El Zahir" describes a moment where the protagonist finds rest from his monomania by reworking one of the central texts in Old Germanic myth, the story of Sigurd and Brynhild. The approach taken here by the protagonist is the paradigm used in this thesis for understanding Borges's own strong readings of Old Germanic literature, specifically Old Scandinavian texts. In chapter one, a brief outline of the myth of Sigurd and Brynhild, with a particular emphasis on Gram, the sword that lied between them, is provided and juxtaposed with Borges's own family history, focusing on the family's storied military past. This image of the sword as the symbol for the north and its relation to Borges's family and political interests is sustained throughout the thesis. Chapter two is a survey of the various facets of Borges's literary output that were influenced by Nordic myth and literary styles: first, literary criticism, second, poetry and prose, and third, translation. The survey shows that Borges's engagement with the north began early and was maintained throughout his life. Likewise, after working through seven works from disparate periods it becomes clear that Borges is not merely introducing the Spanish speaking world to Old Scandinavian texts, but, in the same fashion as the protagonist in "El Zahir," subsuming them in a way that is uniquely Borgesian. The third chapter follows the same approach as the survey but focuses on Borges's short stories, specifically two short stories from his collection entitled Libro de Arena: "Ulrica" and "Undr." Many of the conclusions that emerged in the survey are further validated in the analysis of these two stories, but with greater emphasis on how they relate to Borges's later years, and the themes that begin to surround his preparation for death. The concluding chapter summarizes the findings of the previous three chapters by way of a close reading of Borges's tombstone. Each aspect of the stone is connected to Old Germanic myth and how that symbolized the eventual consummation of his joy: the sword that kept him separated from love was eventually lifted, as it was for Ulrica and Javier in "Ulrica."
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Moore, Katharine T. "Al-Andalus, the Umayyads, and Hispano-Islamic Art:The Influence of the Abbasids and Northern Christians on the Art of Muslim Patronage in the Iberian Peninsula from the 8th to 11th Centuries." Walsh University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors1587323490141253.
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Singer, Jill. "A study of lexical and semantic change in the expression of the idea of poverty in early medieval English, with reference to intra- and extra-linguistic influences." Thesis, King's College London (University of London), 2006. https://kclpure.kcl.ac.uk/portal/en/theses/a-study-of-lexical-and-semantic-change-in-the-expression-of-the-idea-of-poverty-in-early-medieval-english-with-reference-to-intra-and-extralinguistic-influences(ed2237af-a93a-472d-a906-0e4ced6e68c6).html.
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Wong, Alexander Tsiong. "Aspects of the kiss-poem 1450-1700 : the neo-Latin basium genre and its influence on early modern British verse." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708782.
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Marnieri, Maria Teresa. "Critical and iconographic reinterpretations of three early gothic novels. Classical, medieval, and renaissance influences in William Beckford’s Vathek, Ann Radcliffe’s romance of the forest and Matthew G. Lewis’s the Monk." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399574.
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El propósito de esta disertación doctoral es lo de investigar y comprender de
mejor manera las influencias múltiples que, juntas al desarrollo y a la divulgación de
la traducción literaria (puestas de relieve por Stuart Gillespie y David Hopkins),
tuvieron un papel importante en el ascenso de las primeras novelas góticas al final del
siglo dieciocho. Considerando que este trabajo está profundamente influenciado e
inspirado por la crítica literaria reconocida a nivel internacional sobre la literatura
gótica, esta investigación evita asumir perspectivas criticas típicas del siglo veinte y del
periodo actual. Procediendo atrás en el tiempo, examina los autores, su ambiente
cultural, sus conocimientos y sus puntos de vista que pertenecen al siglo dieciocho. El
enfoque se concentra sobre las primeras manifestaciones del género gótico en las
décadas inmediatamente sucesivas a la novedad introducida por Horace Walpole con
su novela fantástica El Castillo de Otranto en 1764. El periodo fin de siècle limitado
(1786-1796) de los primeros trabajos góticos que se explora en esta tesis es
inversamente proporcional al ancho nivel de creatividad e invención de sus autores.
Esta disertación tiene como objetivo lo de demonstrar que la omnipresencia y la
reiteración de temas y argumentos clásicos, medievales y renacentistas fueron
elegidos y adaptados a sus historias conscientemente por William Beckford (Vathek,
1786), Ann Radcliffe (El Romance de la Selva, 1791), y Matthew G. Lewis (El Monje,
1796), cuyas novelas representan un sincretismo único y original de ideas e influencias
literarias, culturales e iconográficas que los tres autores absorbieron de sus
contemporáneos así como de los escritores y poetas del pasado. Las tres novelas
analizadas en esta tesis fueron escritas antes, durante y después de la revolución
francesa que ha sido frecuentemente considerada como un punto de referencia y el
origen de la literatura gótica. Una de las ideas detrás de esta disertación es la intención
de demonstrar que las conexiones con la revolución en Francia son una convención
crítica a quo, que generalmente no toma en consideración peculiaridades del gótico
literario que existían antes de los acontecimientos revolucionarios. Otros aspectos
importantes incluidos en esta investigación son la función de las arquitecturas, los
paisajes y las iconografías de las novelas. La disertación está dividida en cinco partes.
La primera introduce los argumentos and la razón de ser a la base de esta investigación
junto a la motivación de organizar un estudio sobre el gótico que recibe mucha
atención crítica. El cuerpo central es formado por tres capítulos. Cada uno contiene un
análisis de una novela diferente y pone en evidencia su relación con autores como
Lucrecio, Virgilio, Ovidio, Dante, Boccaccio, Shakespeare, y otros. El quinto capítulo
incluye la conclusión y las hipótesis de investigaciones futuras que pueden
desarrollarse de este estudio. Una particularidad de la bibliografía es que presenta una
variedad de textos y traducciones que eran conocidos por los autores examinados en
esta disertación. El idioma de los novelistas góticos reflejaba inevitablemente los
estilos de los autores del pasado. Un anexo iconográfico al final de la disertación
presenta una galería de pinturas e imágenes que muestran una analogía relevante con
la belleza, el misterio y el terror del gótico.<br>The purpose of this doctoral dissertation is to investigate and better
understand the multiple influences that, together with the development
and spreading of literary translations (highlighted by Stuart Gillespie and
David Hopkins), played an important role in the rise of the early Gothic
novel at the end of the eighteenth century. While deeply inspired by and
imbued with internationally recognised critical literature of the Gothic, this
study avoids assuming the critical stances of the twentieth and twenty-first
centuries. It proceeds backward in time, scrutinizing the authors, their
cultural background, their knowledge, and their eighteenth-century
perspectives. The focus is concentrated on the first manifestations of the
Gothic genre in the decades that followed the novelty introduced by
Horace Walpole with The Castle of Otranto in 1764. The restricted fin de
siècle timespan (1786-1796) of the early Gothic works that is explored in
this thesis is inversely proportional to the high level of creativity and
inventiveness of their authors. This dissertation aims at demonstrating that
the pervasiveness and reiteration of Classical, Medieval, and Renaissance
themes were consciously chosen and adapted to their plots by William
Beckford (Vathek, 1786), Ann Radcliffe (The Romance of the Forest, 1791),
and Matthew G. Lewis (The Monk, 1796), whose novels were an interesting
and unusual syncretism of literary, cultural, and iconographic ideas and
resources that they absorbed both from their contemporaries and, most
importantly, from authors of the past. The three novels analysed in this
thesis were written before, during, and after the French Revolution, which
has been taken by many as a point of reference for and as a cause of the
Gothic. The aim of this study is also to demonstrate that the association
with the French Revolution is a critical convention a quo, which does not
take into consideration Gothic peculiarities that already existed before the
dramatic events in France. Other important aspects included in this
investigation are the function of architectures, landscapes and
iconographies in the novels. The dissertation is divided into five parts. The
first part introduces the major themes and the rationale behind this
investigation together with the motivation for embarking on a study on the
Gothic. The central body is represented by three chapters. Every chapter
analyses one novel and underscores its connection with authors such as
Lucretius, Virgil, Ovid, Dante, Boccaccio, Shakespeare, and many others.
The fifth chapter contains the conclusion and the future hypotheses of
investigation brought about by this research. The bibliography features a
variety of source texts and translations that were known to the novelists
examined in this dissertation. The three Gothic writers’ language inevitably
reflected and echoed themes and styles inherited from authors of different
epochs. An iconography annex introduces a series of paintings and images
that showed relevant associations with Gothic beauty, mystery, and horror.
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Knaepen, Arnaud. "Images de l'antiquité classique au haut moyen âge: la matière historique gréco-romaine dans les sources littéraires latines du VIIIe au XIe siècle." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210871.
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Yardy, Danielle. "Stake and stage : judicial burning and Elizabethan theatre, 1587-1592." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c90c5635-2258-4213-a445-4bfaf67d24d7.
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This thesis is the first sustained analysis of the relationship between Elizabethan theatre and the judicial practice of burning at the stake. Focusing on a five-year window of theatrical output (1587-1592), it argues that polemical literary presentations of burning are the key to understanding the stage's negotiation of this most particular form of judicial violence. Unlike other forms of penal violence, burning at the stake was not staged, and only fourteen incidences of the punishment are recorded in Elizabethan England. Its strong literary presence in Protestant historiography is therefore central to this study. Part I explores the tragic and overtly theatrical rhetoric that the widely available Acts and Monuments built around the burning of heretics in the reformation, and argues that the narrative of this drama of injustice intervened in the development of judicial semiotics over the late-sixteenth century. By the time that Tamburlaine was first performed, burning at the stake was a pressing polemical issue, and it haunts early commercial theatre. Elizabethan historiography of the stake was deeply influential in Elizabethan theatre. In Part II, I argue that Marlovian fire spectacles evoke tableaux from the Acts and Monuments to encourage partisan spectatorship, informed by the rhetoric of martyrdom. Dido's self-immolation courts this rhetoric by dismissing the sword from her death, while Tamburlaine's book burning is condemned through its emphatically papist undertones. These plays court the stake through spectacles utilizing its rhetoric. In Part III, I show that characters historically destined to face the stake required thorough criminalization to justify their sentence. Alice Arden is distinguished from female martyrs celebrated for their domestic defiance, while Jeanne d'Arc's historical heresy is forcefully rewritten as witchcraft and whoredom to condemn 1 Henry VI's Joan la Pucelle. Both women are punished offstage, and the plays focus instead on the necessary task of justifying the sentence of burning. Though rare in practice, burning at the stake was a polemical issue in Elizabethan England. Despite the stake's lack of imitation in the theatre, I argue that widely available Protestant historiography - propaganda at the heart of debates about burning and religious violence - affected both how plays were written, and how they could be viewed.
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Jones, Malcolm Haydn. "The misericords of Beverley Minster : a corpus of folkloric imagery and its cultural milieu, with special reference to the influence of Northern European iconography on Late Medieval and Early Modern English woodwork." Thesis, University of Plymouth, 1991. http://hdl.handle.net/10026.1/2540.
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The set of 68 misericords in Beverley Minster, Yorkshire, carved in 1520, are considered here both as a corpus of 'folkloric' imagery in their own right, and in a eider cultural context. A detailed iconographic examination of the individual misericords under such headings as 'The Fool and Follies', 'Satires', 'The bestiary' 'Exempla', etc., leads to the isolation of a small number of motifs which are seen not to belong to the native tradition. These non-English motifs are traced to two main sources, the border woodcuts in early Parisian printed Horae and Flemish & German prints. The identification of these sources for the Beverley designs leads to further identifications else here, and especially in the stalls of St. George's Chapel, llindsor, c. 1430. In the case of Beverley it is suggested that the means of transmission of such Continental imagery is via the port of Hull (the Customs Accounts for the port being examined in this light), and the printers and book-sellers of York. The local cultural milieu in which the Beverley stalls were created is examined and Henry Percy, the 'Magnificent' Fifth Earl of Northumberland, shown to be an influential patron of the arts; but other local influences considered include the late medieval dramatic cycles played in Beverley, the town 's patron saint John (portrayed as a 'hairy anchorite') and a York & London printer known to have printed in Beverley, Hugo Goes (whose unique woodblock-printed wallpaper is also discussed). Goes's Flemish origin leads to a consideration of the presence of other alien artists and craftsmen (e. q. ! Maynard Weywick who provided the patterns for Torrigiano's Westminster tombs) at work in late medieval and early Tudor England -- much of it assembled here for the first time.
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Earlie, Paul Joseph. "Derrida's return to Freud : from phenomenology to politics." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c536ba17-c846-45d1-8a57-a39a29bbd56e.
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This thesis identifies and explores a ‘return to Freud’ in the work of Jacques Derrida. Resemblances between Derrida’s method of deconstruction and the therapeutic procedure of psychoanalysis have long been a source of debate among critics. Is deconstruction little more than a psychoanalytic reading of the history of philosophy, or is Freud a Derridean avant la lettre? Revealing this dilemma to be a false one, this thesis challenges major interpreters of Derrida such as Jonathan Culler and Gayatari Chakravorty Spivak. By developing Derrida’s well-known yet little understood concept of différance, it argues that this dilemma stems from an inadequate understanding of Derrida’s treatment of time. The structure of temporality implied by différance entails that the meaning of the past is continually reconstituted in its relationship to an ever-evolving present. Far from dissolving the importance of Freud’s contribution, this structure allows Derrida to circumvent nebulous notions of ‘influence’ and ‘indebtedness’ while still engaging psychoanalysis as a key theoretical resource in his own project of deconstruction. A productive engagement with psychoanalytic theory is shown to inform every major stage of the philosopher’s career, from his early phenomenological work to his later reflections on the terrorist attacks of 9/11. Derrida repeatedly turns to Freud as a crucial interlocutor in interrogating a number of philosophical problems encountered in his own work. These problems include the nature of time, space, and memory; the role of the fictive in scientific discourse; the question of the archive; the interdependence of the psyche and technology; and the relationship between politics and the unconscious. At a theoretical level, this thesis provides a detailed account of Derrida’s notion of spacing, arguing that the unconditional belatedness entailed by différance calls us to a difficult, dual responsibility: both towards the legator of an inheritance (that is, towards the textual legacy Freud has bequeathed to us) and towards the unforeseeable future contexts in which this inheritance will require transformation. The discourse of deconstruction, it concludes, enacts a careful negotiation of these two demands.
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Leyronas, Julie. "De Triumphis Christi Antiochiae gestis de Flodoard : étude d'un cycle hagiographique en vers." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3005.
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Si Flodoard est incontestablement reconnu comme l’historien du Xe siècle en Francie, son œuvre poétique est méconnue. Le De Triumphis Christi se compose pourtant de près de 20 000 vers et révèle l’immense culture de son auteur. Cette thèse propose une édition critique inédite d’une partie de cette œuvre : le De Triumphis Christi Antiochiae gestis, qui contient une succession de chapitres aux longueurs variées pour mettre en avant les triomphes du Christ à travers ses saints à Antioche. Nous souhaitons montrer dans un premier temps que ce poème constitue une enclave dans l’œuvre historique de Flodoard et correspond pour lui à une période de disgrâce politique, alors même que la cité de Reims est au cœur des enjeux dynastiques entre Carolingiens et Robertiens. Mais en filigrane, nous pouvons trouver dans le De Triumphis Christi Antiochiae gestis des références à la situation de son auteur. De plus, les 3 000 vers qui le composent proposent une diversité métrique intéressante entre strophes sapphiques, hexamètres dactyliques et sénaires iambiques qui permettent à Flodoard de moduler la célébration des triomphes du Christ à Antioche en faisant appel à plusieurs genres littéraires. Notre étude dans les notes qui suivent le texte, que nous avons édité à partir du seul manuscrit médiéval qui en ait été conservé et d’un manuscrit plus récent et traduit, cherche ainsi à montrer les différentes influences qui ont permis à l’auteur de composer cette œuvre érudite, destinée à un public cultivé<br>Flodoard is undisputably considered as the historian of the tenth century in Francia. However, his poetic work is unknown, even though the De Triumphis Christi consists of nearly 20,000 lines and reveals the vast culture of its author. This thesis proposes an unpublished critical edition of part of this long poem : the De Triumphis Christi Antiochiae gestis, a succession of chapters of varying lengths to emphasize the Christ’s triumphs through his saints, in the city of Antioch. First, we would want to show that this poem constitutes an enclave in the historical work of Flodoard and corresponds for him to a period of political disgrace, when the city of Rheims was at the very core of dynastic disputes between Carolingians and Robertians. But, in filigree, we can find in the De Triumphis Christi Antiochiae gestis some references to its author’s situation. Furthermore, the 3,000 verses that compose it offer an interesting metric diversity between sapphic stanzas, dactylic hexameters and iambic senarii, that allows Flodoard to modulate the celebration of the Christ’s triumphs in Antioch by appealing to several literary genres. Our study in the notes following the text, which we edited based on the only surviving medieval manuscript and on a more recent manuscript, and translated manuscripts, seeks to show the different influences that allowed the author to compose this scholar work, destined to a sophisticated public
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Cvetković, Carmen Angela. "Seeking the Face of God : a study on Augustine's reception in the mystical thought of Bernard of Clairvaux and William of St. Thierry." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1213.
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The present thesis examines the way in which two twelfth century authors, the Cistercian monks, Bernard of Clairvaux (1091-1153) and William of St. Thierry (c. 1080-1148), used Augustine (354-430) in the articulation of their mystical thought. The approach to this subject takes into account the fact that in the works of all these medieval authors the “mystical” element is inescapably entangled with their theological discourse and that an accurate understanding of their views on the soul’s direct encounter with God cannot be achieved without a discussion of their theology. This thesis posits that the cohesion of Bernard’s and William’s mystical thought lies in their appropriation of the guiding principle of Augustine’s mystical theology: “You made us for yourself and our heart is restless until it rests in you” (conf. 1.1.1), reflected in the subtle interplay of three main themes, namely (1) the creation of humanity in the image and likeness of God, which provides the grounds for the understanding of the soul’s search for direct contact with God; (2) love as a longing innate in every human being, which explores the means to attain immediacy with God; and (3) the soul’s direct encounter with God, which discusses the nature of the soul’s immediate experience of the divine presence that can only be achieved in lasting fullness at the end of time. This examination of Bernard’s and William’s use of Augustine is structured on the basis of these three core themes which form the scaffolding of their mystical thought. Investigating the specific methods of their reception of Augustine will highlight the originality and uniqueness of each of the two Cistercian authors, who while drawing on the same patristic source use it nevertheless in various ways, by focussing on different aspects of Augustine’s immense oeuvre and by arriving at distinct mystical programmes.
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Hodder, Mike. "Petrarch in English : political, cultural and religious filters in the translation of the 'Rerum vulgarium fragmenta' and 'Triumphi' from Geoffrey Chaucer to J.M. Synge." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:49cdf913-cd2a-48c6-bf1e-533052018285.
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This thesis is concerned with one key aspect of the reception of the vernacular poetry of Francesco Petrarca (Petrarch), namely translations and imitations of the Rerum vulgarium fragmenta (Rvf) and Triumphi in English. It aims to provide a more comprehensive survey of the vernacular Petrarch’s legacy to English literature than is currently available, with a particular focus on some hitherto critically neglected texts and authors. It also seeks to ascertain to what degree the socio-historical phenomena of religion, politics, and culture have influenced the translations and imitations in question. The approach has been both chronological and comparative. This strategy will demonstrate with greater clarity the monumental effect of the Elizabethan Reformation on the English reception of Petrarch. It proposes a solution to the problem of the long gap between Geoffrey Chaucer’s re-writing of Rvf 132 and the imitations of Wyatt and Surrey framed in the context of Chaucer’s sophisticated imitative strategy (Chapter I). A fresh reading of Sir Philip Sidney’s Astrophil and Stella is offered which highlights the author’s misgivings about the dangers of textual misinterpretation, a concern he shared with Petrarch (Chapter II). The analysis of Edmund Spenser’s Amoretti and Epithalamion in the same chapter reveals a hitherto undetected Ovidian subtext to Petrarch’s Rvf 190. Chapter III deals with two English versions of the Triumphi: I propose a date for Lord Morley’s translation which suggests it may be the first post- Chaucerian English engagement with Petrarch; new evidence is brought to light which identifies the edition of Petrarch used by William Fowler as the source text for his Triumphs of Petrarcke. The fourth chapter constitutes the most extensive investigation to date of J. M. Synge’s engagement with the Rvf, and deals with the question of translation as subversion. On the theoretical front, it demonstrates how Synge’s use of “folk-speech” challenges Venuti’s binary foreignising/domesticating system of translation categorisation.
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Dolgorukova, Natalia. "La réception de la matière de Bretagne aux XIIe-XIIIe siècles : Marie de France et ses contemporains." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040151.
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Les auteurs qui vivaient à la cour des Plantagenêt, créaient une sorte de mythe historique et culturel, appelé à contribuer à la consolidation politique et sociale de leur royaume. Les Lais de Marie s’inscrivent dans ce contexte. La première partie montre pourquoi et comment Marie s’adresse à l’œuvre historiographique de Wace. L’influence de cet écrivain transparaît incontestablement dans l’œuvre de Marie et il n’est pas impossible que son projet littéraire, consistant à créer un recueil des douze lais, puisse être inspiré par la chronique de l’historiographe. La seconde partie dégage de nombreux liens intertextuels entre Marie et Chrétien de Troyes. Les contes d’origine celtique portant sur les transformations des personnes en animaux, « métamorphoses bretonnes », furent aux yeux de Marie une sorte de version des Métamorphoses antiques, un monument littéraire adapté par le jeune Chrétien. Celui-ci n’hésitait pas à faire dans ses romans des allusions plus au moins claires aux lais. La troisième partie étudie les notions-clés de la poésie des troubadours, ainsi que certains genres de la lyrique provençale qui auraient pu influencer les Lais. La quatrième partie met en lumière l’aspect parodique de la réception de la matière bretonne, ainsi que des lais de Marie par les auteurs anonymes. Marie transforme radicalement le statut culturel et littéraire des contes bretons, en imprégnant leurs adaptations françaises des réminiscences des écrits créés par ses contemporains et en ennoblissant les personnages conformément à la nouvelle morale de la société courtoise. Le genre de lai acquiert des contours précis, le chronotope breton se fixe en tant qu’élément essentiel du lai<br>Authors who lived at the Plantagenet court created a historical and cultural myth that was meant to contribute to the political and social consolidation of the kingdom. Marie de France’s Lais are situated in this context. The first part of my thesis focuses on how and why Marie addresses the historiographical work of Wace. Not only is his influence visible in the lais but his voluminous poetical chronicle might have inspired in Marie the very idea of composing a collection of twelve lais. The second part brings to light a significant number of intertextual connections between Marie de France and Chrétien de Troyes. It is argued that Marie saw some similarities between the tales of Celtic origin about the transformation of humans into animals and Ovid’s Metamorphoses, translated by young Chrétien de Troyes. In his turn, Chrétien did not hesitate to allude to Marie’s Lais, more or less openly. The third part centers on the key notions and certain genres of troubadour poetry as a potential source of Marie’s Lais. The fourth part examines the parodic aspect in the reception of the Matter of Britain and of Marie’s Lais by anonymous authors. The results of my research have lead me to the conclusion that Marie radically transformed the cultural and literary status of Breton tales, filling them with reminiscences of her contemporaries’ writings, ennobling the characters of her tales in accordance with the new moral code of the court, and endowing them with the gloss of a fairy-tale ideality. Her immediate successors made this gloss even more pronounced. Thus the genre of the lai acquired a precise shape, and the Breton chronotope became an essential element of the lai
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NEFZI, Emna. "Traduzione, analisi, studio filologico-linguistico e storico-culturale del testo “Taṯqīf al-lisān wa talqīḥ al-ğanān” [Emendamento della lingua e fecondazione dello spirito]". Doctoral thesis, Università degli Studi di Palermo, 2022. https://hdl.handle.net/10447/554918.
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Zussa, Gaëlle. "Merlin, rémanences contemporaines d’un personnage littéraire médiéval dans la production culturelle francophone (fin 20e siècle et début 21e siècle) : origines et pouvoirs." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0051/document.
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Le personnage de Merlin est né il y a fort longtemps à partir de chroniques galloises. Ses origines littéraires remontent à des textes du 12e siècle, d’abord en latin, puis en français, dans lesquels il devient le célèbre conseiller d’Arthur et acquiert une notoriété considérable auprès des lecteurs. Aujourd’hui, neuf siècles plus tard, le Merlin traditionnel est en pleine renaissance, alors que le Romantisme avait laissé paraître l’avoir oublié pour toujours. Le héros fait toujours rêver et devient le personnage principal de nombre d’oeuvres de la production culturelle francophone actuelle. Ce travail se propose d’analyser les rémanences contemporaines du personnage littéraire médiéval de Merlin autour de deux axes principaux : les origines et les pouvoirs. Dans un premier temps, un tableau représentant le portrait médiéval du héros est constitué d’après l’étude d’un corpus d’oeuvres faisant apparaître Merlin au Moyen Âge. Puis, sur la base de ce tableau dont la structure compose le plan de l’étude, les rémanences contemporaines du héros sont analysées de manière détaillée à l’intérieur d’un corpus d’éléments à la fois littéraires, cinématographiques, théâtraux, appartenant à l’univers de la bande dessinée ou à celui d’Internet. L’étude des origines (qui regroupe les thèmes de la conception et de la tradition sylvestre) révèle principalement un changement de statut du concepteur médiéval de Merlin, le diable, qui se trouve rationalisé, paganisé ou même supprimé. Cette modification se fait au profit d’une véritable mise en lumière de la tradition sylvestre et du motif de l’homme sauvage, qui apparaissaient déjà au Moyen Âge mais deviennent primordiaux dans le corpus contemporain. Une analyse détaillée de la dévalorisation du christianisme permet de mieux comprendre ces bouleversements narratologiques qui touchent également le thème des pouvoirs (regroupant la clairvoyance, l’emprise sur le temps et l’emprise sur l’espace). En plus d’être déchristianisés, ils se modernisent considérablement grâce aux techniques proposées par les différents médias et sont ainsi démystifiés, ce qui permet une identification efficace avec le lecteur-spectateur. Ainsi, Merlin devient accessible, il n’effraye plus comme au Moyen Âge où son origine diabolique en faisait un personnage douteux. Il se présente comme le porte-parole d’un retour à la nature, comme il l’avait déjà été dans les premiers textes médiévaux avant que son message ne se perde sous le poids de la domination chrétienne. Or, aujourd’hui plus que jamais, le monde a besoin d’exemples, de modèles en ce qui concerne le respect et l’amour de la nature dont l’avenir semble menacé. Merlin constitue donc le messager idéal d’une conception « naturiste » de la vie et du monde, ce que les auteurs contemporains ont bien compris. Par son appartenance au monde médiéval et son portrait, revisité par la production culturelle contemporaine, il nous attire, nous fait rêver, tout en nous rappelant notre propre être dans un rapport d’identification à lui-même<br>The character Merlin, was born a long time ago from Welsh chronicles. Its literary origins go back to texts from the 12th century, first in Latin, then in French, in which he becomes Arthur’s famous adviser and acquires a great reputation among readers. Today, nine centuries later, the traditional Merlin is reborn, after Romanticism has forgotten him. The hero is still making us dream. He has become the main character of many works of the current francophone cultural production. This work analyses the contemporary persistence of the literary figure of medieval Merlin through two main themes: the origins and the powers. As a first step, a table of the medieval hero’s portrait is made according to the study of a novel’s corpus showing Merlin in the Middle Ages. Then, based on this table, whose structure builds the study plan, the hero’s contemporary persistence is analysed in detail through a corpus composed of elements from literature, cinema, theatre, comic books and Internet. The study of the origins (which includes the themes of the conception and the Woodwose or wildman’s tradition) shows mostly a modification of Merlin’s creator status, the devil, which is rationalized, paganised or deleted. This change is made to give importance to the Woodwose’s tradition, which already existed in the Middle Ages, but has become dominant in contemporary corpus. A detailed analysis of the Christian depreciation explains these narratological changes, which also affects the theme of powers (which includes the vision, the control over time and the control over space). In addition to their de-Christianization, the powers are considerably modernized thanks to the techniques of the various media. Consequently, they are demystified, which allows a finer identification with the reader-viewer. Thus, Merlin has become reachable, he does not scare any more like in the Middle Ages where his diabolical origin made him doubtful. He appears as a spokesman of a return to nature, as he had already been in the early medieval texts before his message was lost under the weight of the Christian domination. But today more than ever, the world needs examples, models to respect and love nature, whose future seems threatened. Merlin is the ideal messenger of a " naturist " conception of life and world. The contemporary writers understand this. Through his connection to the medieval world and his revisited portrait by the contemporary cultural production, Merlin attracts us, he makes us dream while reminding us of our own being through identification with this extraordinary character<br>Die Figur Merlin wurde vor langer Zeit aus walisischen Chroniken geboren. Seine literarischen Ursprünge stammen aus Texten des 12. Jahrhunderts die zuerst auf Lateinisch und danach auf Französisch waren. In diesen Texten ist der grossartige Berater von Arthur und erreicht dadurch Berühmtheit unter den Lesern. Neun Jahrhunderte später ist der traditionelle Merlin Wiedergeboren, nachdem er in der Romantik in Vergessenheit geriet. Der Held macht immer noch träumen und ist die Hauptfigur in etlichen Werken der zeitgenossischen frankophonen kulturellen Produktion. Diese Arbeit analysiert die zeitgenössischen Überbleibsel der mittelalterlichen Figur Merlin aus zwei Gesichtspunkten: der Herkunft und der Zauberkraft. Als erstes wurde eine Tabelle erstellt in der das Porträt des mittelalterlichen Helden, aufgrund von verschiedenen Werken, wo die mittelalterliche Figur Merlin erscheint, gezeigt wird. Diese Tabelle und seine Struktur sind die Grundlage unsere Studie. Die zeitgenössischen Remanenzen der literarischen mittelalterlichen Charakteristiken des Helden sind danach in der frankophonen kulturellen Produktion (Literatur, Film, Theater, Comics oder Internet) analysiert. Die Studie der Ursprünge (welche die Themen der Konzeption und der Tradition des wilden Mannes umfasst) zeigt hauptsächlich eine Änderung des Status des mittelalterlichen Vaters von Merlin (der Teufel), welcher rationalisiert, paganisiert und teilweise sogar gestrichen wird. Diese Änderung erfolgt zugunsten einer hervorgehobenen Darstellung der Tradition des wilden Mannes. Diese Tradition, die während des Mittelalters bereits erschien, steht im Vordergrund der zeitgenössischen Korpus. Eine detaillierte Analyse der Abwertung des Christentums erklärt die narratologischen Umbrüche, die auch den Bereich der Zauberkräfte betreffen (umfasst die Klarsicht, die Kontrolle über Zeit und Raum). Ausserdem wurden die Zauberkräfte dank den neuen Medien beträchtlich modernisiert und demystifiziert, was eine effiziente Identifizierung mit dem Leser-Zuschauer erlaubt Durch diese Entwicklung wird Merlin erreichbarer, macht keine Angst mehr im Gegensatz zum Mittelalter, wo ihn seine teuflischen Züge zweifelhaft machten. Er erscheint als Sprecher für eine Rückkehr zur Natur, wie das bereits in den ersten mittelalterlichen Texten der Fall war, bevor seine Botschaft unter der christlichen Herrschaft verloren ging. Heute, mehr denn je, braucht die Welt Beispiele, Modelle hinsichtlich Respekt und Liebe zur Natur deren Zukunft bedroht zu sein scheint. Merlin ist daher der ideale Kurier einer "naturistischen" Konzeption des Lebens und der Welt, was die zeitgenössischen Autoren deutlich verstanden haben. Durch seine Verbindung zur mittelalterlichen Welt sowie seiner Wiederauferstehung durch die zeitgenössischen kulturellen Produktionen, zieht er uns an und lässt uns träumen indem er uns an uns selber erinnert durch die Identifizierung mit dieser aussergewöhnlichen Persönlichkeit
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"El "Libro de Alexandre" y sus influencias en el Mester de clerecia." Tulane University, 2000.
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This dissertation deals with the influence of the thirteenth-century narrative poem Libro de Alexandre in medieval Spanish literature and various types of imitation of it by other medieval poets. The two texts chosen for comparison, analysis and interpretation are the thirteenth-century Libro de Apolonio and the fourteenth-century Libro de buen amor. The Spanish Alexander poem is believed to be the earliest work of the poetic school 'mester de clerecia;' and its relations with other medieval Spanish poems have been treated by several scholars such as Ramon Menendez Pidal, Maria Rosa Lida de Malkiel, Dana Nelson, and Jorge Garcia Lopez. However, my scope, perspective and interpretative strategy in the present study are different from those of most of the previous scholars. Through a close scrutiny, a considerable number of new thematic, linguistic and stylistic parallels are retrieved between the Alexandre and the Apolonio, and between the Alexandre and the Buen amor. Theories of literary imitation, intertextuality, literary influence, and plagiarism are introduced to guide the interpretation of these new data Chapter One examines the relations between the Alexandre and the Apolonio, which are organized in thematic terms: moralization, wedding and festival celebration, medieval erudition, and knowledge of music. Other parallels are included in a section 'paralelismos narrativos aislados'; more singular parallels which affect no more than one or two verses are made into a appendix. What the author of the Apolonio learned from the Alexandre is mainly the art of descriptio and the formulaic mechanism of the 'cuaderna via' verse form; his basic approach is that of abbreviation. He may also have relied on his poetic model for his knowledge and treatment of medieval music performance. His imitation of the Alexander poem varies from the reproductive mode to transformative and heuristic absorption Chapter Two examines the relations between the Alexandre and the Buen amor. The influence of the Alexander poem affects Juan Ruiz's poem from single verse borrowings to the configuration of one of the major sections of the Buen amor, sequences covering the battles between Lady Lent and Sir Carnal and the tent of Sir Love. Ruiz's modes of imitating his Alexander model are more complex than those seen in the Apolonio. Judging from his hilarious treatments of the ideal personal portrait, the Serranilla, the lamentation on Death, and the epitaph of Trotaconventos, it is probably true that his imitation is by no means reverent or sincere, although we are not absolutely sure that he parodies the Alexandre in all these treatments. Many remote European, Islamic or Jewish parallels or sources for Juan Ruiz's poem have been claimed by scholars, but no important and probable native Spanish antecedent has been found. This study recognizes the Alexandre as the most important Spanish model for the Buen amor. It, in turn, also affects the place of the Alexandre in the history of medieval Spanish literature. Overall, through an examination of the influence of the Alexander in the Apolonio and the Buen amor , this study shows the great impact of the Spanish Alexander poem in thirteenth-century and fourteenth-century Spanish literature and its proper place in the history of the Spanish literature<br>acase@tulane.edu
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"The influence of classical mythology and medieval mythography on the invocations of Chaucer's "Troilus and Criseyde"." EMPORIA STATE UNIVERSITY, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=1451049.
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Horzela, Dobrosława. "Późnogotycka rzeźba drewniana w Małopolsce ok. 1440-1477." Praca doktorska, 2011. https://ruj.uj.edu.pl/xmlui/handle/item/53598.
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Greentree, Rosemary. "Reader, teller, and teacher : the narrator of Robert Henryson's Moral fables." Thesis, 1986. http://hdl.handle.net/2440/109769.
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Slaymaker, Peter James Victor. "Augustine and the Trinity vision in the Vita Sancti Augustini Imaginibus Adornata." Thesis, 2013. http://hdl.handle.net/1805/3886.
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