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This is an examination of the position of Catharina Regina von Greiffenberg (1633--1694) with regard to contemporary societal gender-paradigms, which were the conditions under which she produced her literary work; these same conditions are also reflected in her texts. / The first chapter includes a methodological discussion and establishes the importance of applying a socio-historical approach in order to better understand the situation of women in the Baroque period, and of Greiffenberg in particular, in order to answer the question, how it was possible for the author to write and publish at a time that generally excluded women from such activities. / The second chapter provides a brief biography of Greiffenberg and a review of secondary literature, with the main focus on the positioning of the poet within patriarchal society. / The socio-historical framework includes the religious, social, and legal position of women. These include: the hierarchy of power based on gender-roles, definitions of women in marriage, educational paradigms, as well as characteristics typically attributed to women. An analysis of the moral and theological view of women, as outlined by Martin Luther and presented in sermons by Johann Michael Dilherr, evaluates the general conditions for women during the Baroque period and the specific position of Greiffenberg (chapter three). With a similar aim in mind, chapter four examines the genre of "Hatisvaterliteratur" through the example by Wolfgang Helmhard von Hohberg. / This provides a framework for the investigation of Greiffenberg's expressions of her views regarding gender politics. She made the restrictions placed on women a topic in both her published and unpublished texts. She also developed strategies to overcome these restrictions. She found the courage to act against the proscribed role for women by defining her writing as God's will and thus based her profession on a higher authority. She also affirmed the gender-paradigms, while at the same time transgressing their boundaries, whereby she was able to negotiate the roles of both a woman and a publishing writer at a time when one identity conflicted with the other (chapters five and six).

After the civil conflicts of the seventeenth century, England during the Restoration period began to emerge as a modern nation. As Charles II understood, and as James II was to learn at the cost of his throne, absolute monarchy was no longer acceptable to the kingdom. Although Englishmen might henceforth tolerate the trappings of absolutism, the substance was irrevocably gone. This was as true of absolutism in religion as it was in government. It was only a question of time before the demands of Englishmen for freedom in belief and for participation in government would find expression in parliamentary democracy and in religious toleration. At the same time that England was developing new patterns of government and social behaviour, great events were happening in the cultural life of the nation. Literature and drama broadened their horizons by absorbing continental ideas and by renewing the inspiration bequeathed by native sources. Though the new literature and drama did not soon attain the excellence of their earlier counterparts, they were striking out in new directions. Scientific attitudes, too, were being revolutionized. In 1662, the formal organization of the Royal Society under royal patronage provided a meeting ground for those of inquiring mind. Soon the achievements of such men as Robert Boyle in chemistry and Isaac Newton in mathematics and physics established the framework of modern science. If art produced no comparable luminaries, architecture had in Christopher Wren only the most outstanding of a number of notable architects. Music, though less spectacular in its development than some of the other arts, soon produced Henry Purcell, whose compositions have rarely been equalled by those of any other English composer. The seventeenth century did not suffer from that proliferation of knowledge which in our own day has forced men to specialize in a narrow field of inquiry in order to be able to speak authoritatively about anything. A cultivated Englishman of the Restoration could still aspire to a reasonable understanding of all learning. Men like Christopher Wren and Robert Boyle, Isaac Newton and John Dryden, Samuel Pepys and John Evelyn, even men like the King himself in his dilettante way, were what the century called virtuosi—in the sense that they had a special interest in and aspired to a knowledge of art and science. Their intellects moved, more or less profoundly,over the entire range of human achievement and endeavour. This thesis is concerned with Samuel Pepys and John Evelyn. Its particular purpose is to examine their diaries and other relevant sources to discover how each responded to the cultural and social environment of Restoration England, and to establish to what extent they were representative virtuosi of their period. / Arts, Faculty of / English, Department of / Graduate

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The thesis examines the paradoxes in Herbert's poetry and attributes the many contradictions and vacillations within The Temple to Herbert's own "spiritual conflicts" as a Christian poet. The thesis explores the poems as interconnected expressions of Herbert's dual nature as Christian-Poet. The thesis discusses over sixty of Herbert's poems, concentrating on close readings and intratextual connections. Chapter One reviews critical approaches to Herbert's poetry and outlines the study. Chapter Two examines Herbert's life and the expression of his struggles in poetry. Chapter Three discusses Herbert's poetry itself and comments on the deceptively simplistic style. Chapter Four explores the conflict between the worlds of the Christian and the poet. Chapter Five concludes that, more than merely an artistic exercise or catechistic tool, Herbert's poetry accurately records the duality of the poet's spiritual journey.

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Made available in DSpace on 2015-03-03T11:52:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-07-02Bitstream added on 2015-03-03T12:06:22Z : No. of bitstreams: 1 000810732.pdf: 848603 bytes, checksum: ffb44132abafdf6318a7c9becfac1990 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho tem como finalidade compreender a complexa crise em que se encontrava a Bahia na segunda metade do século XVII através da análise de escritos contemporâneos, como as cartas do padre Antônio Vieira e os poemas de Gregório de Matos. Nesses documentos, os autores apresentam a conjuntura do período, suas rupturas e as permanências, porém com pontos de vista diferentes, o que nos favorece uma compreensão mais aprofundada e completa do período estudado, com as iniciativas e atitudes tomadas por pessoas e instituições para tentarem sanar ou ao menos melhorar os problemas enfrentados, principalmente no que se refere ao período que envolve a crise e seus desdobramentos / This study aims to understand the complex crisis that existed Bahia in the second half of the seventeenth century through the analysis of contemporary writings, such as letters of priest Antonio Vieira and the poems of Gregorio de Matos. In these papers the authors present the situation of the period, its ruptures and continuities, but with different views, which favors a more in-depth and thorough understanding of the period studied, with the initiatives and actions taken by individuals and institutions to try to remedy or at least improve the problems faced, especially with regard to the period of the crisis and its consequences

This dissertation proposes that George Herbertʾs poetry may profitably be understood as a sacramental means by which the divine is made present in temporal existence. In order to support this claim, the relation between sacramental symbolism and literary symbolism, particularly Herbertʾs, is examined from a number of perspectives. The symbolic meanings suggested by Herbertʾs title (The Temple), and their relation to sacramentalism are considered in the opening chapter. This includes a consideration of some of the background to the analogical thinking prevalent in both the seventeenth-century and Herbert. It is followed in the second chapter by an examination of some of the modern theories about how literary symbolism may relate to sacramental symbolism, a discussion which is followed by a consideration of this dissertation's argument in relation to modern scholarship. The chapter ends with a reading of ʺThe Flowerʺ. The third chapter discusses the poet's attempt to imitate the divine by ʺcopyingʺ both Scripture and Nature, and this includes a consideration of the allegorical and hieroglyphic modes of thought prevalent in the poems. The concern with imitation encourages an examination of the poet's frequent invitation for God actually to assume the poet's role, and this is the subject of the fourth chapter. The argument suggests that the poet's attempt to ʺsacrificeʺ his own writing may be seen in his concern with corporate imagery and corporate (impersonal) structures. The five ʺAfflictionʺ poems are examined as examples of the first, while structures such as synecdoche and metonymy are examined as examples of the second. The final chapter considers aspects of narrative time in the poems, particularly the sense often evoked of the eternal being imminent in the present. This involves a consideration of both liturgical imagery, and what may be called liturgical structures as they can be seen to operate in the poems. Particular examples of the latter are the relation between the liturgical anamnesis and the poems, as well as certain narrative structures that may be called ʺachronisticʺ.

Bibliography: leaves 466-497.