Orientador: Ruy de Oliveira Andrade Filho / Banca: Terezinha Oliveira / Banca: Milton Carlos Costa / Resumo: / Abstract: / Mestre

My doctoral thesis, "Producing Piers Plowman to 1475: Author, Scribe, and Reader," charts a new material history of William Langland's fourteenth-century dream vision, Piers Plowman, from its earliest composition to the onset of print in England. The study is divided into three sections, which examine the production of Piers from three perspectives: textual history, manuscript circulation, and medieval reception. The first section of the thesis conducts a study of Langland's revisionary process, presenting a new theory of authorial revision from the A to B version that has important implications for our understanding of authorship in Piers Plowman and for the future editing of the poem. The second section transitions into an examination of the early circulation of the Piers manuscripts in various geographical and social milieux. It examines two case studies of manuscript circulation in the Southwest Midlands and East Anglia, linking them to regionalized networks of scribes and patrons. Finally, Section III moves into a discussion of the literary contexts in which Piers circulates, particularly in multi-text manuscripts, examining how the poem's reception by a medieval audience affected its development as a literary text. This section treats production from a more theoretical standpoint, investigating the relationship between the poem's audience and the "production" of meaning in a social and historical context. As I will argue, each of these sections acts as an important frame of reference for understanding the multifaceted formation of Piers Plowman as a literary text and cultural landmark. In particular, the thesis emphasizes the importance of Piers's various contexts, from its textual genesis in the author's composition and revision to its circulation and reception in an unstable manuscript culture. It suggests that the people and the places that surrounded Piers Plowman in its early development fundamentally shaped the poem we have today.

Clerical sexual incontinence was a prevalent satirical theme during the Middle Ages manifested by anticlerical sentiment towards reprobate clergymen and the laws that they disobeyed. This satirical genre of literature targeted not only the cleric of a small town, but bishops and cardinals who were also abusers of canon law. The anticlerical theme originated in Western Europe in the time of Constantine when early Christianity was competing with many religions for dominance. In the fourth century, Constantine, through the Edict of Milan, granted religious tolerance to all, thus allowing Christianity to become a major religion. Clerical celibacy originated from the writings of early church fathers such as Augustine of Hippo, Origen, and Tertullian, who determined that celibacy provided greater spiritual access to God. Early patristic church fathers supported the ideal of sexual celibacy for Christians in order to spiritually overcome the other religions. In the fourth century A.D., the church demanded that the clerics remain celibate even though they were married. By the twelfth century, canonical laws demanded that clerics not marry and remain celibate. These laws initiated an extreme sexual repression of clerics who began to sexually seek women, refusing them absolution for their sins if they refused the clerics' sexual advances. The purpose of this thesis is to establish that the corrupt clerics victimized the laity, who, although fearing for their salvation, produced satirical poetry expressing their anticlerical sentiment. This thesis also will present literature that discusses the pros and cons of clerical concubinage. There are three different forms of articulation in this thesis. The first is didactic and teaches the reader by demonstrating literature that encouraged clerical celibacy. The second illustration is satirical poems with the seven deadly sins as a recurrent theme. These poems are divided into two groups: the first is the poems written by the nobility, and the second is the popular anonymous poems, sung to music for peasant entertainment. The third articulation is the proponents of clerical concubinage. This poetry reflects the human side of companionship and need during a tumultuous time when people banded together in order to survive.

In recent years, there has been a resurgence of interest in Xenophon as a historian, literary artist, and political philosopher. However, scholarly research on the Poroi--the only work of political economy to survive from antiquity--has been minimal. To date, no book-length, synoptic analysis of the text exists. This dissertation contributes significantly to filling this lacuna in the scholarship while also serving to enhance our understanding of fourth-century Athenian political discourse and ideology, finance, and economics. I argue that the Poroi is a unique anti-imperialistic discourse that aims to demonstrate the ways in which the Athenians can maintain themselves financially without exploiting other states. While Xenophon's objectives of alleviating the poverty of the Athenians and increasing their revenues are conventional, the means by which he intends to achieve these goals are innovative. Unlike his contemporaries, Xenophon recommends employing financial resources derived not from empire but rather from peaceful economic activities. Specifically, I contend that the Poroi boldly challenges the parasitic, consumer-based orientation of Athens' imperial economy by proposing practical measures meant to transform Athens into a center of silver mining, manufacture, and free commercial exchange. Xenophon's vision for Athens' new economy, I submit, even displays features of modern rational capitalism. To advance this argument, I adopt a contextualist approach that situates Xenophon's ideas both in the immediate historical milieu of fourth-century Athens and within the history of economic and political thought. I am therefore able to highlight the points of contact between the Poroi and subsequent developments in the history of ideas and thus to underscore the groundbreaking aspects of Xenophon's political economy. My study parts company with previous interpretations in two fundamental ways. First, Xenophon's attempt to improve the financial condition of the Athenians stems from a desire not to promote or to retard the political activity of the people but to eliminate the injustice of Athenian imperialism. Second, his program to stimulate the Athenian economy necessarily entails the development of the productive forces of Attica. In brief, such a radical transformation of Athenian fiscal and economic practices represents nothing short of a "reorientation" of Athenian political economy. / text

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In the Parallel Lives Plutarch does not absolve his readers of the need for moral reflection by offering any sort of hard and fact rules for their moral judgement. Rather, he uses strategies for eliciting from readers an active engagement with the act of judging. This study, building upon and verifying further recent research on the challenging and exploratory, rather than affirmative, moral impact that the Lives are designed to have on their readers, offers the first systematic analysis of the representation of 'experimental' moralism of Plutarch's Parallel Lives. It seeks to describe and analyse the range of narrative techniques that Plutarch employs to draw his readers into the process of moral evaluation and expose them to the complexities and difficulties involved in making moral judgements. Through illustrating Plutarch's narrative techniques, it also sheds significant light on Plutarch's sensibility to the artistic qualities of historical narrative as well as to the challenges and dangers inherent in recounting, reading, and evaluating history. Chapter 1 considers the interrogatory nature of the moralism of the Lives and their narrative sophistication, which the insights of recent literary theories can help us to unfold and analyse. Chapter 2 is concerned with Plutarch's projection of himself and his readers, and, more specifically, with the devices that Plutarch exploits to build his authority with his readers, establish their complicity, and draw them into engaging all the more actively with the subjects of his Lives. Chapter 3 examines how Plutarch's delving into the minds of the in-text characters generates in readers empathy that keeps them alert up to the end of the Life to the complex and provisional character of a clear-cut moralising judgement. Chapter 4 reflects especially upon Plutarch's tendency to refrain from offering an overall moral conclusion in the closing chapters of the biographies. It examines several closural devices (such as anecdotes, the aftermath of cities, literary allusions, and generalised moral statements) that are effective in drawing readers to review in retrospect moral themes and questions which matter to the book as a whole, and (in the case of the endings of the second Lives) help a neat transition to the final comparative epilogue (Synkrisis) - whenever this follows. Chapter 5 explores how the Synkriseis expose readers to the particular challenges involved in deciding an overarching concluding judgement. It also closely examines the books that (as they now stand) do not have a Synkrisis and makes the case that no 'terminal irregularity' can justify and explain any deliberate omission of their comparative epilogues. Finally, Chapter 6 focuses on Plutarch's essay On the malice of Herodotus and explores how far Plutarch's techniques in the Lives escape and how far they are vulnerable to the criticisms that Plutarch makes of Herodotus. This analysis brings together the main strands of the earlier chapters so as to illuminate further Plutarch's narrative strategies; it also discusses the possibility that Plutarch exploits the rhetorical agonistic framework of the essay in order to elicit a similar sort of attentive and acute reader response to historical narrative, as in the Lives, and to arouse awareness of the precarious act of exercising moral judgement.

This dissertation provides a new interpretation for the rise and subsequent decline of Brazil as a cotton supplier to the British textile sector during the Industrial Revolution. Between 1791 and 1801, northeast Brazilachieved a market share of 40 percent in Liverpool. Contrary to what scholars previously argued,the chief cause for the rise of Brazil as a major cotton exporterwas its superior cotton fiber for the new calico and muslin textiles produced in Britain. Notwithstanding the initial success, Brazilian cotton exports stagnated after 1819. Previous interpretations argued that the decline of Brazilian cotton plantations was a result of labor shortagesand high inland transport costs. This dissertation instead provides evidence showing that cotton regions in Brazil had in fact a high density of slaves. Likewise, transport costs represented a small fraction of cotton market prices. For cotton planters, the largest economic burden was the fiscal policy implemented by the central government after 1808. The need to increase revenues led the central government to tax the most important commodities at the time. Export taxes represented the largest cost for cotton production in Brazil until the 1840s. As regional governments could not tax imports, they were left with little resources to invest in infrastructure projects that could offset the increasing costs of taxation. In the end, higher production costs reduced Brazil\'s ability to face the challenge of new competitors in the international cotton market during the nineteenth century. / Essa dissertação fornece uma nova interpretação para a ascensão e subsequente declínio do Brasil como um fornecedor de algodão para o setor têxtil britânico durante a Revolução Industrial.Entre 1791 e 1801, o nordeste do Brasil alcançou uma participação de mercado de 40% em Liverpool.Contrário ao que os pesquisadores normalmente argumentam, a principal causa do surgimento do Brasil como um importante exportador de algodão foi a qualidade superior da sua fibra para os novos têxteis produzidos na Grã-Bretanha.Não obstante o sucesso inicial, as exportações brasileiras de algodão estagnaram após 1819. As interpretações anteriores argumentaram que o declínio das plantações brasileiras de algodão foi resultado da escassez de mão-de-obra e dos altos custos de transporte terrestre.Essa dissertação, no entanto, fornece evidências de que as regiões de algodão no Brasil tinham, de fato, uma alta densidade de escravos. Do mesmo modo, os custos de transporte representaram uma pequena fração dos preços de mercado do algodão.Para os plantadores de algodão, o maior fardo econômico foi a política fiscal implementada pelo governo central após 1808. A necessidade de aumentar as receitas levou o governo central a tributar as commodities mais importantes na época.Os impostos de exportação representaram o maior custo de produção de algodão no Brasil até a década de 1840. Como os governos regionais não podiam tributar as importações, ficaram com poucos recursos para investir em projetos de infraestrutura que poderiam compensar os crescentes custos de tributação.No final, os custos de produção mais elevados reduziram a capacidade do Brasil de enfrentar o desafio de novos concorrentes no mercado internacional do algodão durante o século XIX.

Cette thèse de doctorat offre deux aspects de la recherche en épigraphie médiévale, à savoir la réalisation d'un corpus des inscriptions médiévales conservées et/ou concernant les diocèses d'Arras, de Cambrai, de Liège, de Thérouanne et de Tournai, et l'étude de ces inscriptions dans une perspective historique. Pour cela, les épigraphes ont été classées en quatre groupes: les inscriptions sur les objets archéologiques mérovingiens, les inscriptions funéraires (épitaphes, endotaphes et authentiques de reliques), les inscriptions relatives à l'histoire des bâtiments religieux et les inscriptions sur les objets liturgiques. Pour chaque catégorie, les formulaires des textes ont été analysés pour eux-mêmes, puis les uns par rapport aux autres. Ils ont ensuite été étudiés en tenant compte du contexte d'insertion (emplacement dans les édifices de culte, rapport avec d'autres textes ou avec des images, etc.). Le but de cette démarche est de déterminer la fonction des inscriptions médiévales et d'enrichir notre connaissance de l'histoire de la mort et de la liturgie au Moyen Age. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

[From Preface]. Any study centred in the exploratlon and analysis of the medieval and Elizabethen images of the Jew might, with some justification. seem redundant and impertinent to a modern reader; for the third quarter of this century has witnessed the almost total obviatlon of a great many such time-honoured images and symbols. The immemorial figure of the Wandering Jew, to cite a sIngle instance, has for the past two decades, attained his country and place of destination - history no longer condemning him to tarry until the Second Coming of the Messiah. Even the deicide Jew has been granted complete absolution, by an offlcial decree from the Vatican, for his complicity in the killing of Christ. It would seem, moreover, that the atrocities perpetrated against the Jews during the course of the Second World War have resulted in an alteration of the Jewish image radically transforming It from one of contempt into one of compassion a living symbol of "man's inhumanlty to man"; and the modern European dramatist has revived the Jewlsh figure on the stage as an instance of almost personal atonement or, alternatively, as a means of scourging the state of middle-class mind which abetted the persecution of the Nazi regime, attacking state policies of inactio and deploring the failure of influentlal powers to resist the blatant inhumanlty perpetrated within Its boundaries. Max Frisch's Andorre and Rolf Hochhuth's The Representative embody, each in its own way the 2Oth century's sense of shame and horror at those events with which the century has yet to come to terms. They are both extreme reactions agalnst the image of the Jew whlch the Nazi propogandized in the 1930s. And the image which the Nazis propogandized was curiously consistent wlth the medieval and Elizabethan images of the Jew.

Santa Rosa del Perú (1671), escrita por Agustín Moreto y Pedro Francisco Lanini y Sagredo, ha sido objeto de importantes trabajos y artículos. La presente investigación tiene el propósito de contribuir en el estudio de esta comedia hagiográfica. En este trabajo exponemos la participación de Bodigo, el gracioso, durante la primera jornada. Sostenemos que, para comprender su incapacidad para emprender un adecuado camino a la santidad, la clave está en el análisis de su carácter práctico y mundano, comparado con el carácter espiritual de la protagonista. De igual forma, consideramos que para conseguir nuestro objetivo tampoco debemos perder de vista el marco temporal de la obra. Por esta razón, en nuestro ensayo empleamos un enfoque interdisciplinario; es decir, recurrimos a fuentes literarias, teológicas e históricas.