This thesis attempts a critical analysis of modern individualism through an examination of its origins in the seventeenth century. In this thesis I discuss the notion of autonomous and self-responsible individuality as a culturally constructed and culturally specific idea. Furthermore, I describe autonomy as only one of a complex of related features of the modern individual, including a withdrawn and objectifying stance toward the natural world, values and other human beings. / In this thesis, I examine two seventeenth-century authors--Robert Burton and John Locke--each of whom represents a different conception of individuality. Burton emulates communal conceptions of identity characteristic of the Middle Ages and Renaissance, while Locke describes an essentially modern, analytical individuality based on the control and possession of an objectified "other". / The theoretical framework for this analysis is derived from Michel Foucault and Timothy Reiss' description of the transition from the Renaissance to the seventeenth century as a transition between different epistemes or discourses. Throughout this thesis, I supplement this essentially structuralist approach with perspectives from Medieval, Renaissance and seventeenth-century cosmology, literary theory, political theory and epistemology.

Mir Abu al-Qasim Findiriski (970/1560 1050/1640) a prominent scholar of the Ṣafwid period (906/1501 1148/1736) played an important role in the development of Shi'i Irfan and Ḥikmah. He was a classmate and close friend of Mir Damad (950/1543 1041/1631) and Shaykh-i Baha'i (953/1546 1030/1622). Beside the other major juridical, traditional, philosophical, and mystical accomplishments of the School of Isfahan, the philosophical and mystical contributions of Mir Findiriski are invaluable. Although he was not a fertile writer, the uniqueness of his works has drawn remarkable attention. Many considered him a great teacher of peripatetic philosophy. This thesis aims to display Mir Findiriski's achievements in these fields and attempts to exhibit the originality in his exceptional mystico-philosophical ode (qaṣidah ḥikmiyyah ). In this ode Mir Findiriski summarized the principles of ḥikmah. Considering his mystical and scientific writings, and various narrative accounts of his spirituality and super-natural powers, his reputation as a great philosopher and mystic of the Ṣafavid period appears to be well deserved. This thesis evaluates various aspects of his life in some detail and a number of ambiguities surrounding the corpus of his writings are resolved through a complete list of his works. Finally, an overview of his doctrines on ontological as well as epistemological problems in his work is presented.

Univ., Diss.--Freiburg, 2000.

Orientador: Carlos Eduardo Ornelas Berriel / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T19:08:43Z (GMT). No. of bitstreams: 1 Lopes_JulianadeOliveira_M.pdf: 1925950 bytes, checksum: 39cb8214255d1831693b236c1724cadd (MD5) Previous issue date: 2011 / Resumo: Este trabalho apresenta um estudo sobre a melancolia na obra de Robert Burton, The Anatomy of Melancholy. Sob a perspectiva de um clérigo inglês de Oxford que vive no século XVII sob a égide do rei Jaime I, a pergunta do melancólico Burton é justamente por que o homem é melancólico. Será uma disposição transitória, um hábito ou uma maldição sobre a humanidade? Por que os homens não entendem a melancolia como sua condição de mortais, decaídos, separados do Sagrado, e se voltam para Deus ao invés de propor reformas sociais ineficazes como as utopias tão usuais no Renascimento inglês? Focando a pesquisa no texto Democritus Junior to the Reader que abre a obra, sem, no entanto, deixar de percorrer todo seu extenso tratado sobre a melancolia, o presente trabalho inquieta-se e questiona junto com Robert Burton, dialoga com seus contemporâneos renascentistas, com pensadores clássicos que abordam temáticas sobre o homem, com pensadores atuais, e procura não respostas resolutas, mas o debate permanente entre literatura, filosofia, teologia, história e outras fontes de conhecimento que ajudaram o studia humanitatis e ainda hoje nos ajudam a aplacar nossa sede pelo mistério do saber / Abstract: This work presents a study about melancholy on Robert Burton?s The Anatomy of Melancholy. Under a clergyman perspective from Oxford who lives in the XVII century on James I?s Kingdom, the melancholic Burton?s query is exactly why the man is melancholic. Is it a transitory disposition, a habit or a curse over humanity? Why men do not understand that melancholy is their mortal condition, that they are decayed, separated from the Sacred, and come back to God instead of proposing such ineffective social reforms like utopias as it was usual in the English Renaissance? Focusing the research on the text Democritus Junior to the Reader that opens his work, nevertheless not neglecting all his extense treatise about melancholy, this dissertation joins Burton and fidgets and requires, dialogues with his contemporaneous renaissance men, with classical thinkers who tell of themes about men, with current thinkers, and wants not resolute answers, but the permanent debate among Literature, Philosophy, Theology, History and others knowledge sources that guided the studia humanitatis and has been guiding us to assuage our thirst for knowledge that still is too mysterious / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

'Tis Pity She's a Whore. An Elizabethan revenge tragedy by John Ford, was produced and directed by Kenneth Livingstone, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Frederic Wood Studio Theatre, from March 8-11, 1967. The following is a detailed record of that production along with the director's analysis and interpretation of the script. 'Tis Pity She's a Whore was produced on a budget of $300.00, with a 90 hour rehearsal period and had a five performance run in a theatre seating approximately ninety people. The play was performed by a predominantly student cast in a setting designed by Harry Soloveoff and with original music composed by Leon Dubinsky which was played each night by a small group of musicians employing recorders, guitars, drums, bells and a virginal. This record is divided into three main sections. The first is an essay which starts by discussing the historical background of the play with reference to its position in the genre of Revenge Tragedy. This is followed by a brief biographical note on the author and then a detailed analysis of the play with reference to the significant critical interpretations available and concludes with a discussion of the directorial concept adopted for this production. The director's interpretation is compared to, and contrasted with, the various critical views already mentioned. The essay is followed by a short bibliography which is not intended as a complete academic record of works on Ford, but merely indicates those views which were taken into consideration in the preparation of this production. The second section is made up of the actual script; showing cuts, blocking, significant divisions and indicating light, music and scenery cues. Each scene is preceded by a brief analysis which indicates the major units within the scene and the directorial approach taken in terms of purpose, action, dominant emotions, character dominance, and particular difficulties Involved. The third section is made up of various tables, records, and illustrations relating directly to the production. Included are lists of light cues, music cues, set changes, properties, costumes, cost lists, and box office reports. Also included are transcripts of the music composed for the production, a sample of the program, and copies of the press reviews. The illustrations include colour photographs of the production, and finally, blueprints of the floor plan and working drawings. / Arts, Faculty of / Theatre and Film, Department of / Graduate

The same theme of one unorthodox man opposing a self-appointed authoritative religious institution is interpreted is interpreted in two different ways in two related works by Karl Friedrich Gutzkow: his Novelle, Der Sadduzaer von Amsterdam (1834), and in his drama, Uriel Acosta (1846). Both works fictionalize the life Uriel Acosta (1585-1640), an unorthodox Jew who fled the Spanish Inquisition in Portugal to the relatively tolerant country of Holland. Acosta’s problems were not with the government of Holland, however, but with his own orthodox Jewish temple authorities. He opposed the written interpretations of the Talmud and attempted to question the very idea of institutionalized religion as a mere human invention. For this skepticism he was excommunicated and persecuted. Eventually he took his own life, leaving behind his autobiography, A Specimen of Human Life, which Gutzkow read. This thesis attempts to define the likenesses as well as the contrasts in Gutzkow’s two interpretations. The twelve year span elapsing between the two works effects changes in the author’s use of characterization and in his resolution of the plot. The method of investigation used was to analyze each work for plot, form, and content; the latter included style and characterization. Materials used were simply the two works themselves as well as supplementary reading regarding developments in the author’s life during the years between the writing of the Novelle and the drama.

No description available.

L’intégration de la Catalogne dans la monarchie française en 1641, ouvre une période de coexistence de deux univers politiques différents. Pour la France, l’incorporation de cette nouvelle province intervient dans une société marquée par une culture de l’héroïsme. Le règne de Louis XIII coïncide avec son âge d’or, puisqu’il sert de fondement au pouvoir royal et de référence pour l’ethos nobiliaire. La guerre qui s’ensuit, porte la culture de l’héroïsme à son paroxysme. La proclamation du roi comme souverain de Catalogne ouvre de nouveaux horizons à cet imaginaire politique revitalisant un messianisme qui substitue un prince français au souverain espagnol. Le récit de l’entreprise catalane produit par l’entourage royal offre une nouvelle perspective à la construction de l’image de Louis XIII. L’horizon catalan «achève» la fabrication de son profil héroïque et lui sert d’apothéose, valorisant à posteriori la mort «sacrificielle» du roi conséquence de sa présence au siège de Perpignan. Les vice-rois se retrouvent également au centre d’un discours héroïque, protagonistes d’une véritable épopée catalane. Les lumières et les zones d’ombres de ces expériences de l’héroïsme apparaissent dans le devenir, parfois tragique, de ces représentants du roi. Outre les défis militaires et politiques relevant de leur charge, ils doivent faire face aux équilibres de pouvoir relevant de la cour. Côté catalan, l’avènement de Louis XIII s’inscrit dans la dynamique «révolutionnaire» entamée en 1640. Le meneurs de la révolte, qui protestent néanmoins de leur fidélité à Philippe IV, formulent un récit capable de donner une cohérence aux tumultes et à l’instabilité permanente de la situation. L’horizon d’une «restauration» providentielle de Catalogne apparaît alors. L’issue républicaine semble ici introuvable entre l’interruption formelle de la juridiction de Philippe IV et l’acclamation de Louis XIII. Dès lors un discours providentielle de restauration de la Principauté se développe à travers une royauté messianique incarnée par un nouveau prince. L’image du roi devient un idéal sur lequel les dirigeants catalans projettent leurs attentes politiques et se justifient. La visite à Barcelone, annulée in extremis, précède de peu sa mort. Les funérailles royales servent alors à magnifier ce récit, et offrent par l’image du roi «sacrifié» et à canoniser, un emblème pour la Catalogne française. / The integration of Catalonia into the French Monarchy in 1641 opens a period of coexistence of two political universes. In France, the incorporation of the new province arrives in a social context under the influence of a strong culture of heroism. Under Louis XIII’s reign culminates a process of reformulation of the heroic paradigm: a political model of government and an ethical referent for the French nobility. The heroic culture is taken to its paroxysm when the Spanish war begins. The proclamation of the king as sovereign of Catalonia opens new horizons for this imagery, mobilizing also old messianic referents. The narrative of the Catalan enterprise developed by the royal entourage offers a new perspective of Louis XIII’s image making process. This Catalan enterprise completes the build of the king’s heroic profile, and serves to make his apotheosis, emphasizing the fact of a sacrificial death as a consequence of the royal presence in the Perpignan’s siege.The viceroys become the center of a heroic narrative also. They are protagonists of a true «Catalan epic». The light and darkness of this heroic experience of politics appear through the destiny, sometimes tragic, of these king’s agents (and images). They have to face, besides the military and political challenges, the power struggles in court. On the Catalan side, the accession of king Louis XIII has to be considered in the «revolutionary» context of 1640. The leaders of the revolt, who claim to be loyal to their king, Philip IV, build a narrative able to tame serious adverse events that sometimes escape their control. The horizon of a providential «restoration» of Catalonia appears in this narrative. Republican time seems here «unfound», between the broken of one king’s jurisdiction and the other king proclamation. Since then a providential propaganda speech about the restoration of the Principality through a Messianic Royalty incarnated by the new prince. The new king’s figure becomes one idealized image where Catalans look to project their political expectations, as well as a way for the Catalan leaders to justify themselves. The failed royal visit to Barcelona shortly precedes the king’s death. The royal funerals serve to the crystallization of these narratives: they offer the image of a «sacrificed» king, who is also a saint. He becomes the real emblem of the Franco-Catalan regime.

Orientador: Carlos Eduardo Ornelas Berriel / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T21:54:37Z (GMT). No. of bitstreams: 1 Caixeta_BrunaPereira_M.pdf: 41483159 bytes, checksum: 9da2fe0848c5c1d54ac61022e851cefe (MD5) Previous issue date: 2014 / Resumo: Alguns anos antes da deflagração da Revolução Inglesa de 1640, que na Inglaterra deporia o regime monárquico e daria aos puritanos o controle de um regime pretensamente republicano, ocorreria uma série de erros políticos que contribuiriam para os conflitos que levaram à Guerra Civil. Boa parte deles adveio da política pró-Espanha assumida pelos dois primeiros reis Stuart, Jaime I e Carlos I, que, entre outras ações, não apoiaram as classes protestantes nas suas empresas de comercialização e colonização de mercados no exterior, deixando a situação econômica do país negativa. Diante do iminente fenecimento do regime monárquico, da Igreja Anglicana alicerçada no sistema episcopal e de aliança ao Estado, do perigo da Inglaterra se tornar domínio espanhol, Francis Godwin compõe por volta de 1629, publicado seu texto em 1638, a ficção utópica "The Man in the Moone". Sumarizando todo o conflito religioso e os deslizes do governo dos primeiros Stuart que caracterizou a Inglaterra nos 40 primeiros anos do século XVII, o presente estudo objetivará mostrar que essa ficção do espanhol Domingo Gonsales na sua viagem à lua, na passagem pela fictícia ilha de Santa Helena e pela China ocupada por jesuítas, debatendo as teorias de Copérnico, Galileu, Gilbert e Kepler na área da astronomia, se pretendeu uma defesa e proteção da Igreja Anglicana e do regime monárquico Tudor que aliava a Igreja ao Estado e favorecia a economia. Através do exemplo disciplinado e inovador dos jesuítas em missão na China no início do século XVII, Godwin intentará advertir os confusos reis, que a saída para os conflitos internos e externos ingleses estava no livre desenvolvimento da ciência, do comércio, e, agora diferente dos jesuítas, numa política adversária à Espanha e à mentalidade medieval e obsoleta católica / Abstract: Some years before the outbreak of the English Revolution of 1640, testifying that in England the monarchy and the Puritans would control an allegedly republican regime, there were a series of errors that contribute to political conflicts that led to the Civil War. Most of them came from the pro-Spanish political assumed by the first two Stuart kings, James I and Charles I, who, among other things, did not support the Protestant classes in their trading enterprises and colonization of overseas markets, leaving the economic situation of the country negative. Faced with the imminent withering of the monarchy, the Anglican Episcopal Church founded on the alliance with the State, the danger of Britain becoming a Spanish colony, Francis Godwin composed around 1629 and his text published in 1638, the utopian fiction "The Man in the Moone". Summarizing all the religious conflict and glides early Stuart England that characterized the first 40 years of the seventeenth century, this study will aim to show that this fiction of Spanish Domingo Gonsales on your trip to the moon, in his passage by the fictional island of Santa Helena and China populated by Jesuits, debating the theories of Copernicus, Galileo, Kepler and Gilbert in the field of astronomy, sought a defense and protection of the Anglican Church and the Tudor monarchy that allied the Church to the State and favored the economy. Through disciplined and innovative example of the Jesuit mission in China in the early seventeenth century, Godwin will bring and warn the confused kings, that the output for the English internal and external conflicts was the investment in science, commerce, and now different from the Jesuits, in opposition to Spain and the Catholic medieval mentality and obsolete policy / Mestrado / Historia e Historiografia Literaria / Mestra em Teoria e História Literária

Call number: LD2668 .T4 1958 T47