This thesis discusses contemporary Scottish crime fiction in light of its transatlantic contexts. It argues that, despite participating in a globalized popular genre, examples of Scottish crime fiction nevertheless meaningfully intervene in notions of Scottishness. The first chapter examines Scottish appropriations of the hard-boiled mode in the work of William McIlvanney, Ian Rankin, and Irvine Welsh, using their representation of traditional masculinity as an index for wider concerns about community, class, and violence. The second chapter examines examples of Scottish crime fiction that exploit the baroque aesthetics of gothic and noir fiction as a means of dealing with the same socio-political contexts. It argues that the work of Iain Banks and Louise Welsh draws upon a tradition of distinctively Scottish gothic in order to articulate concerns about the re-incursion of barbarism within contemporary civilized societies. The third chapter examines the parodic, carnivalesque aspects of contemporary Scottish crime fiction in the work of Christopher Brookmyre and Allan Guthrie. It argues that the structure of parody replicates the structure of genre, meaning that the parodic examples dramatize the textual processes at work in more central examples of Scottish crime fiction. The fourth chapter focuses on examples of Scottish crime fiction that participate in the culturally English golden-age and soft-boiled traditions. Unpacking the darker, more ambivalent aspects of these apparently cosy and genteel traditions, this final chapter argues that the novels of M. C. Beaton and Kate Atkinson obliquely refract the particularly Scottish concerns about modernity that the more central examples more openly express.

Cette thèse présente une édition philologique et annotée du roman peu connu, écrit et publié par le maître d’escrime de Philippe IV, Luis Pacheco de Narváez, dont le titre est Historia ejemplar de las dos constantes mujeres españolas, imprimé pour la première fois à Madrid par l’Imprenta del Reino l’année 1635. Le travail est divisé en cinq chapitres, puisque en plus de celui consacré à l’édition du roman (chap. V), qui établit un texte annoté basé sur les deux seules éditions connues (Madrid, 1635 et Séville, 1744) avec son catalogue de variantes, quatre autres lui servent de contexte. Ainsi, nous présentons une biographie de Pacheco de Narváez (Baeza, 1560-Madrid, 1640), rédigée autour de la documentation conservée, qui est accompagnée par une liste de références littéraires d’époque qui évoquent sa figure et son œuvre, et une épigraphe qui se veut une réflexion scientifique sur ses relations avec Francisco de Quevedo (chap. I); une histoire du texte qui étudie la date de composition du roman, la première édition et le moment compliqué pour publier des romans dans ces années à cause de la censure (1625-1635), d’un projet de publication non abouti et de la seconde édition, ainsi que la trajectoire critique du roman et l’absence d’éditions ultérieures (chap. II); une étude de nature taxonomique (bien que l’accent soit mis aussi sur la moralité présente dans le roman) qui implique son rattachement, en dépit de son extension, au genre du roman «courtois» (chap. III); et enfin un chapitre dédié au contexte littéraire, divisé en deux grands blocs: l’un consacré aux sources et aux matériaux que l’auteur a utilisés pour donner forme au roman, et un autre qui étudie, à titre d’exemple, l’un des sujets présent dans ce dérnier et qui était aussi très courant dans la littérature de l’époque: la descriptio tempestatis. Cette dernière partie est complétée par un appendice qui analyse le sujet de la tempête dans la Jerusalén conquistada (1609) de Lope de Vega (chap. IV). / This thesis present a critical edition of the non-well known novel written and published by the fencing master of Philip IV, Luis Pacheco de Narváez, whose title is Historia ejemplar de las dos constants mujeres españolas, printed for the first time in Madrid by the Imprenta del Reino the year 1635. The work is divided into five chapters. In addition to the section dedicated to the edition of the novel (ch. V), which establishes an annotated text based on the only two known editions (Madrid, 1635 and Seville, 1744) with her list of variants, another four serve as context to it. Thus, we present a biography of Pacheco de Narváez (Baeza, 1560-Madrid, 1640), drafted in accordance with the preserved documentation, which is complemented by a literary list of references of this period about the figure and the work of the author, and an epigraph that wants to be a scientific consideration on his relations with Francisco de Quevedo (ch. I); a history of the text that studies the date of composition, the first edition and the complicated situation to publish novels in these years due to censorship (1625-1635), an aborted publication project and the second edition, as well as the critical trajectory of the novel and the absence of later editions (ch. II); a taxonomic study (although emphasis is placed on the morality present in the story) that implies its attachment to the genre of the so-called “courtly novel” (ch. III); and finally a chapter dedicated to the literary context, divided in two large parts: one dedicated to the sources and materials that the author could use to form the novel, and another that studies, by way of example, one of the literary topics present in the text and in the literature of the time: the descriptio tempestatis. This last part complements, as addition, with a study of the subject of the storm in the Jerusalen conquistada (1609) by Lope de Vega (ch. IV). / El objeto de esta tesis es presentar una edición filológica y anotada de la poco conocida novela escrita y publicada por el maestro de esgrima del monarca Felipe IV, Luis Pacheco de Narváez, cuyo título es Historia ejemplar de las dos constantes mujeres españolas, impresa por vez primera en Madrid por la Imprenta del Reino el año de 1635. El trabajo se divide en cinco capítulos, pues además del específico dedicado a la edición de la obra (Cap. V), que establece un texto anotado sobre la base de las dos únicas ediciones conocidas (Madrid, 1635 y Sevilla, 1744) junto con su aparato de variantes, otros cuatro sirven de contexto a la misma. Así, presentamos una nueva y completa biografía de Luis Pacheco de Narváez (Baeza, ha. 1560-Madrid, 1640), redactada en torno a la documentación conservada, que se complementa con un importante elenco de las menciones literarias de época que hacen referencia a la figura y la obra del autor, y un epígrafe que quiere ser una reflexión científica sobre sus relaciones con el escritor Francisco de Quevedo (Cap. I); una historia del texto que estudia la fecha de composición de la obra, la primera edición madrileña de 1635 y la complicada tesitura para publicar novelas en estos años a causa de la censura imperante (1625-1635), un proyecto de publicación abortado y la segunda edición sevillana de 1744, así como la trayectoria crítica de la novela y la inexistencia de ediciones posteriores (Cap. II); un estudio de carácter taxonómico (aunque se haga hincapié en la moralidad presente en el relato) que supone su adscripción al género, pese a su extensión, de la denominada como novela «cortesana», bien que se constate y analice también la presencia de elementos de otros géneros como la novela bizantina, caballeresca, etc. (Cap. III); y por último un capítulo dedicado al contexto literario, dividido a su vez en dos grandes bloques: uno dedicado a las fuentes y materiales que pudo utilizar el autor para conformar la novela, y otro que estudia, a manera de ejemplo, uno de los tópicos literarios presentes en la misma y en la literatura de la época: la descriptio tempestatis. Este último bloque se complementa, en tanto que apéndice, con un estudio del tema de la tormenta en el libro VII de La Jerusalén conquistada (1609) de Félix Lope de Vega (Cap. IV). Se cierra la tesis con el consabido apartado bibliográfico.

This research examines the career of Robert Searle, an English privateer, that conducted state-sponsored attacks against the Spanish and Dutch in the Caribbean from 1655 to 1671. Set within the Buccaneering Period of the Golden Age of Piracy (1650-1680), Robert Searle’s personal actions contributed to the rise of the English in the Caribbean to a position of dominance over Spain, which dominated the region from 1492 until the 1670s. Searle serves as a window into the contributions of thousands of nameless men who journeyed to the Caribbean as a member of Oliver Cromwell’s Western Design Fleet. These men failed in their endeavor to take Hispaniola from the Spanish, successfully invaded Jamaica, and spent the next fifteen years securing England’s largest possession in the region, transitioning Jamaica from a military outpost to a successful plantation colony. These men, including Searle himself, have been overshadowed in the history of English Jamaica by more well-known figures such as Sir Henry Morgan, the famed “Admiral of the Buccaneers.” Searle and his compatriots pursued the objectives of the core in London throughout the contested periphery of the Caribbean region. These goals were first framed as the complete destruction of the Spanish Empire in the Americas and later as achieving trade between Jamaica and Spain’s American colonies. The examination of Robert Searle through the core-periphery relationship between the metropole and the Caribbean illustrates how the totality of his actions contributed to the rising English position in the Caribbean. Ultimately, Searle and his fellow privateers proved vital to Spain conceding to England the rights of trade and formal recognition of their colonies in the region with a series of succeeding Treaties of Madrid.

No description available.

Este trabalho tem como objetivo propor um diálogo entre a leitura do Quixote em contexto escolar e os estudos literários, por meio da análise do processo de transferência da obra canônica de Miguel de Cervantes para o sistema literário infantil. Apontamos, neste percurso, as principais questões, enfrentadas tanto por adaptadores da obra quanto por educadores, no que tange à complexa tarefa de colocar a obra ao alcance dos leitores infantojuvenis. Esta pesquisa permite discutir aspectos textuais, históricos e culturais das adaptações, além de sugerir uma abordagem prática da introdução do Quixote em contexto escolar que estimule o empoderamento do leitor infantojuvenil, resgatando seu papel de leitor ativo na própria narrativa cervantina. Palavras-chave: Dom Quixote de la Mancha, Escolarização da leitura, Ensino de espanhol, Adaptação, Literatura infantojuvenil, Formação do leitor, Empoderamento do leitor, Literatura espanhola século de ouro, Miguel de Cervantes (1547-1616), Recepção de Quixote / This research aims to propose a dialogue between the reading of Quixote in the school context and the literary studies, analyzing it by the process of transferring the Miguel de Cervantes canonical book to the childrens literary system. We focus on the main issues, faced by adapters and educators, in the complex task of providing the work to the childrens readers. This thesis allows us to discuss textual, historical and cultural aspects of the adaptations, as well as it suggests a practical approach to use of the Quixote in the school context, stimulating the empowerment of the childrens reader, and resignifying their active role in the Cervantes narrative.

Au-delà d’être un poème didactique, les Phénomènes d’Aratos sont un poème pédagogique qui unit étroitement le fond et la forme. On y trouve une conscience méthodique de la construction d’un savoir ; l’analyse du vocabulaire, pourtant issu de la poésie homérique, révèle une réflexion sur la transmission scientifique déjà définie comme un processus dynamique, à une époque où les écoles et leurs méthodes sont encore jeunes : percevoir, délimiter, nommer, et enfin assurer la conservation d’un objet de science. Cette idée de transmission prouve la préoccupation pédagogique d’Aratos, qu’il met en scène dans le poème à travers des figures de maîtres et d’élèves. Il s’y lit, notamment dans le mythe de l’Âge d’Or, une foi en la collaboration entre tous les vivants, fondée sur un respect qui tranche avec la dureté des poèmes didactiques archaïques. La pédagogie devient dans les Phénomènes un enjeu poétique : Aratos définit le poète comme un des membres de cette collaboration universelle, derrière laquelle il doit s’effacer, dans une éthique et une esthétique de l’anonymat qui remettent en question le kléos archaïque. La tradition poétique peut désormais être bousculée au nom de la transmission scientifique, et cette nouvelle conception n’est pas sans rappeler les récentes critiques opérées par Platon. Tout se passe comme si Aratos avait voulu relever le défi que Platon a lancé aux poètes de son temps : chanter le Dieu et sa création selon le Vrai ou le Vraisemblable, et devenir par son chant l’éducateur de la cité idéale. C’est probablement la réussite de cette gageure qui a assuré la gloire des Phénomènes dans les siècles où la philosophie de Platon a été suivie et admirée. / The Phaenomena by Aratus are not only a didactic, but also pedagogical poem, in which form and content are tightly bound. One may find in it a methodical conscience of how knowledge is built; the analysis of vocabulary, although taken from Homeric poetry, shows that scientific transmission is already understood as a dynamic process, in a time when schools and their proceedings were still young : to perceive an object of science, to delimitate it, to name it, and at last to guarantee his preservation. This idea of transmission proves that Aratus is concerned with pedagogy, which is illustrated in the poem through different figures of masters and pupils. We can observe, especially in the myth of the Golden Age, all his faith in the collaboration between all kinds of living being bound together by a respect that is really different from the harsh tone of archaic didactic poetry. In the Phaenomena, pedagogy becomes a poetic matter: Aratus defines the poet as a member of this universal collaboration, behind which he has to fade because of an ethic and an aesthetic of namelessness; so is the archaic kleos questioned. Poetic tradition can be shaken up in the name of scientific transmission, and this new conception may remind us of Plato’s recent criticism. Apparently, Aratus did want to take up Plato’s challenge to the poets of his time: to sing the God and his creation according to Truth or Verisimilitude, and to become the teacher of an ideal state, thanks to his song. In all likelihood, Aratus’fame came from the success of this wager, during all the centuries when Plato’s philosophy was followed and admired.

Representación de la vida y rapto de Elías profeta est une comédie hagiographique en trois actes écrite par Matías de los Reyes (1575- c.1640), publiée pendant le Siècle d'or espagnol (XVIIe siècle). Basée sur les livres 1 et 2 des Rois de l'Ancien Testament, cette pièce a été imprimée par Pedro de la Cuesta à Jaén en 1629. La seule version connue est conservée à la Biblioteca Nacional de España (BNE), mais aucune édition moderne annotée n'a encore été réalisée. Le but de cette thèse repose sur deux objectifs principaux. Premièrement, faire la première édition annotée de Vida y Rapto de Elías Profeta, à partir de la version numérisée de la BNE du volume imprimé en 1629. Deuxièmement, offrir au lecteur moderne une étude préliminaire qui facilite la lecture et l'interprétation de la comédie en analysant ses éléments dramatiques, théologiques et psychologiques. Pour cette édition annotée, diverses sources critiques ont été consultées, dont la Bible et des œuvres de théologie catholique, des œuvres lexicographiques (comme le Diccionario de autoridades ou le Tesoro de Covarrubias), et d'autres textes pertinents afin de fournir un contexte historique adéquat. Les annotations ont pour but d’approfondir la compréhension des passages de la comédie où Matías de los Reyes réinterprète ou fait allusion à des textes bibliques, et se réfère à des personnages historiques, mythologiques ou à des lieux géographiques. Les annotations visent également à éclaircir les termes et expressions caractéristiques de l'espagnol classique du XVIIe siècle. Pour entreprendre une analyse contemporaine de Vida y Rapto de Elías Profeta, il est proposé d’adopter une méthode pluridisciplinaire qui associe trois perspectives complémentaires : la sémiotique théâtrale d'A. Ubersfeld, l'analyse et l'interprétation des comédies selon E. W. Hesse, et la psychocritique de Ch. Mauron. En outre, la méthode intègre des concepts de théologie morale catholique, telles que la Sainte Trinité, les vertus et les vices capitaux, ainsi que de la psychologie clinique, notamment le narcissisme aristocratique, le harcèlement moral ou psychologique, le mobbing et le harcèlement sexuel, tels qu'ils ont été définis par des experts contemporains de la psychologie clinique. Cette section de la thèse, dans une perspective aussi particulière, vise à démontrer l'universalité et l'actualité du théâtre de l'âge d'or, et son potentiel à illustrer des concepts associés à des phénomènes psychologiques et sociaux contemporains sérieux. La combinaison de disciplines aussi diverses confère à cette étude une approche novatrice et enrichissante du théâtre du Siècle d'or, soulignant sa pertinence pour les études littéraires et les contributions qu'il apporte à d'autres domaines de recherche. / Representación de la vida y rapto de Elías profeta is a hagiographic comedy in three acts written by Matías de los Reyes (1575- c. 1640), published during the Spanish Golden Age (17th century). Based on books 1 and 2 of Kings of the Old Testament, this play was printed by Pedro de la Cuesta in Jaén in 1629. The only known version is preserved at the Biblioteca Nacional de España (BNE), yet no modern annotated edition has been produced to date. The purpose of this thesis focuses on two main objectives. First, to produce the first annotated edition of Vida y rapto de Elías profeta, using the digitized version of the volume printed in 1629 from the BNE. Second, to provide the modern reader with a preliminary study that assists in reading and interpreting the comedy by analyzing its dramatic, theological and psychological elements. Various critical sources were consulted for this annotated edition, including the Bible and works of Catholic theology, lexicographical works (such as the Diccionario de autoridades or the Tesoro de Covarrubias), and other relevant texts to provide an adequate historical context. The annotations aim to deepen understanding of the passages in the comedy where Matías de los Reyes reworks or alludes to biblical texts, and refers to historical and mythological figures or geographical locations. The annotations also seek to clarify terms and expressions typical of 17th-century classical Spanish. To undertake a contemporary analysis of Vida y rapto de Elías profeta, a multidisciplinary approach is proposed that integrates three complementary perspectives: the theatrical semiotics of A. Ubersfeld, the analysis and interpretation of comedies according to E. W. Hesse, and the psychocriticism of Ch. Mauron. Additionally, this method incorporates concepts from Catholic moral theology, such as the Holy Trinity, virtues, and capital vices, as well as from clinical psychology, including aristocratic narcissism, moral or psychological harassment, mobbing, and sexual harassment, as defined by contemporary experts in clinical psychology. From such a particular perspective, this section of the thesis seeks to demonstrate the universality and timeliness of the Golden Age theater, and its potential to illustrate concepts associated with serious contemporary psychological and social phenomena. The combination of such diverse disciplines lends this study an innovative and enriching approach to Golden Age theater, underscoring its significance for literary studies and its contributions to other fields of research. / Representación de la vida y rapto de Elías profeta es una comedia hagiográfica en tres actos escrita por Matías de los Reyes (1575- c. 1640), publicada en pleno Siglo de Oro español (siglo XVII). Basada en los libros 1 y 2 de Reyes del Antiguo Testamento, esta obra fue impresa por Pedro de la Cuesta en Jaén en 1629. La única versión conocida está preservada en la Biblioteca Nacional de España (BNE), pero hasta ahora no se ha llevado a cabo una edición moderna anotada. El propósito de esta tesis se centra en dos objetivos principales. Primero, producir la primera edición anotada de Vida y rapto de Elías Profeta, a partir de la versión digitalizada de la BNE del volumen impreso en 1629. Segundo, ofrecer al lector moderno un estudio preliminar que facilite la lectura e interpretación de la comedia, mediante el análisis de sus elementos dramáticos, teológicos y psicológicos. Para esta edición anotada, se han consultado diversas fuentes críticas, incluidas la Biblia y obras de teología católica, obras lexicográficas (como el Diccionario de autoridades o el Tesoro de Covarrubias) y otros textos relevantes para proporcionar un contexto histórico adecuado. Las anotaciones pretenden profundizar en la comprensión de las partes de la comedia en las que Matías de los Reyes reelabora o alude a pasajes bíblicos y hace referencia a personajes históricos y mitológicos o a lugares geográficos; asimismo, dichas anotaciones buscan aclarar términos y expresiones propios del español clásico del siglo XVII. Para efectuar un análisis contemporáneo de Vida y rapto de Elías profeta, se propone un enfoque multidisciplinario que integra tres perspectivas complementarias: la semiótica teatral de A. Ubersfeld, el análisis e interpretación de comedias según E. W. Hesse, y la psicocrítica de Ch. Mauron. Además, este método incorpora varios conceptos de la teología moral católica, como la Santa Trinidad, la virtud y los vicios capitales, y de la psicología clínica, incluyendo el narcisismo aristocrático, el acoso moral o psicológico, el mobbing, y el acoso sexual, definidos por expertos contemporáneos en psicología clínica. Esta sección de la tesis, desde una perspectiva tan particular, tiene como finalidad demostrar la universalidad y actualidad del teatro del Siglo de Oro, y su potencial para ilustrar conceptos asociados con serios fenómenos psicológicos y sociales contemporáneos. La combinación de disciplinas tan diversas confiere a este estudio un enfoque innovador y enriquecedor del teatro del Siglo de Oro, subrayando su importancia para los estudios literarios y sus aportaciones a otros campos de investigación.

This by-practice project is the first to provide an extensive investigation of the marginalisation of era appropriate science (EAS) and professional investigators by detective and historical detective fiction authors. The purpose of the thesis is to analyse specific detective fiction authors from the earliest formats of the nineteenth century through to the 1990s and contemporary, selected historical detective fiction authors. Its aim is to examine the creation, development and perpetuation of the marginalisation tradition. This generic trend can be read as the authors privileging their detective’s innate skillset, metonymic connectivity and deductive abilities, while underplaying and belittling EAS and professional investigators. Chapter One establishes the project’s critique of the generic trend by considering parental authors, E. T. A Hoffmann, Edgar Allan Poe, Émile Gaboriau and Wilkie Collins. Reading how these authors instigated and purposed the downplaying demonstrates its founding within detective fiction at the earliest point. By comparing how the authors sidelined and omitted specific EAS and professional investigators, alongside science available at the time, this thesis provides a framework for examining how it continued in detective fiction. In following chapters, the framework established in Chapter One and the theoretical views of Charles Rzepka, Lee Horsley, Stephen Knight and Martin Priestman, are used to discuss how minimising EAS and professional investigators developed into a tradition; and became a generic trend in the recognised detective fiction formula that was used by Sir Arthur Conan Doyle, Freeman Wills Crofts, H. C. Bailey, R. Austin Freeman, Agatha Christie, Ruth Rendell and P. D. James. I then examine how the device transferred to historical detective fiction, using the framework to consider Ellis Peters, Umberto Eco and other selected contemporary authors of historical detective fiction. Throughout, the critical aspect considers how the trivialisation developed and perpetuated through a generic trend. The research concludes that there is a trend embedded within detective and historical detective fiction. One that was created, developed and perpetuated by authors to augment their fictional detective’s innate skillset and to help produce narratives using it is a creative process. It further concludes that the trend can be reimagined to plausibly use EAS and professional investigators in detective and historical detective fiction. The aim of the creative aspect of the project is to employ the research and demonstrate how the tradition can be successfully reinterpreted. To do so, the historical detective fiction novel A Hidden Life uses traditional features of the detective fiction formula to support and strengthen plausible EAS and professional investigators within the narrative. The end result is a historical detective fiction novel. One that proves the thesis conclusion and is fundamentally crafted by the critical research.