The importance of manuscript sources for certain types of poetry in the 1580s and 1590s has only slowly become apparent. The subject of this thesis is a group of manuscript poetic miscellanies from this period, which preserve an important collection of poems. Although most of these poems were never published, they circulated in manuscript among minor courtiers and students at the Universities and Inns of Court. Six of these miscellanies share a number of poems in common and have texts which are sometimes related; they provide the main focus of these studies. They are MSS Rawl.Poet.85 (in the Bodleian Library), Harl.7392 (in the British Museum), and certain sections of MSS Dd.5-75 (in the University Library, Cambridge), Z3.5.21 (in Archbishop Marsh's Library, Dublin), V.a.89 (in the Folger Shakespeare Library, Washington) and the Harington MS at Arundel Castle. These six miscellanies (and others that impinge on them from time to time) have been considered from a number of points of view. The importance of manuscript circulation in the literature of the period is discussed, and problems of dealing with manuscript material are examined. The six miscellanies are described in some detail, the compilers being identified where possible and suggestions made about the dates when the poems were copied. The miscellanies preserve a fairly coherent body of Elizabethan lyrics. These have been indexed by first line, attributed where possible and the whereabouts of other texts noted. Some of these poems present complex problems of text, authorship and literary or social history. One of the most complicated textually is "The French Primero", preserved in four versions of varying length and numerous textual differences, which has been taken as a test case for discussing methods of editing a poem preserved only or mainly in manuscript texts. Another poem, "My mind to me a kingdom is", (perhaps by Sir Edward Dyer) has been examined as an illustration of the effects of popularity on the text of a poem. The bulk of the poems which are ascribed in the miscellanies are the works of courtier poets who had no interest in publication. Eight of these writers are examined in some detail for the light the miscellanies throw on problems of text and canon. These manuscripts are the most important sources of texts and ascriptions of poems by Sir Edward Dyer and Edward de Vere, Earl of Oxford. The canons of both these poets have been re-examined, and edited texts of their poems presented. Certain lyrics which appear in the miscellanies by the Queen, Sir Philip Sidney, Sir Walter Ralegh and Sir Arthur Gorges (all well edited in recent editions) are examined for the information they yield about how courtly lyrics circulated in manuscript. Poems from the miscellanies by Nicholas Breton (better known as a professional writer than a courtly lyrist) and Ferdinando Stanley, Earl of Derby (hitherto barely known as a poet) are presented and discussed. Three of the miscellanies (MSS Cambridge Dd.5.75, Rawl Poet.85 and Harl.7392) preserve a number of poems written by their compilers and their friends or charges, and these imitate current poetic fashions of the court, and provide interesting evidence of poems in English being written by young Elizabethans at various stages of their education. These little-known poems have been transcribed and discussed, and the social backgrounds of their authors examined. In brief, the object of these studies has been to describe the six miscellanies, to examine and compare their contents, and to discuss their textual problems. The texts by courtiers and courtly imitators which they preserve are studied, and the poetry placed in its proper social context. Some conclusions have been reached about Elizabethan taste and popularity, which may suggest the significance of these manuscripts in contributing to a better knowledge of the state of English poetry towards the end of the sixteenth century.

Hur har konstnärer skildrat barn utifrån vem de var och när de levde? Min undersökning begränsar sig till sex målningar i tre rum på Drottningholms slott. Tidsmässigt handlar det om nästan hundra år, från sent 1600-tal till sent 1700-tal. Jag har studerat hur David Klöcker Ehrenstrahl, Gustaf Lundberg, Johan Pasch och Carle van Loo skildrat kungliga barn, anonyma barn, och i ett fall konstnärens egen dotter. Uppsatsen har en historisk och idéhistorisk kontext, men jag tar även in den rumsliga miljön som konstverken är en del av samt beställarrollen. Konstverkens ikonografi har varit viktig, liksom den generella synen på barnen för tiden. Skönhets- och karaktärsideal har varit en annan ingång. Genom att ingående studera den inneboende symboliken i dessa gestaltningar av barn, som delar i stora allegoriska målningar och som regelrätta porträtt, har jag belyst likheter och skillnader över tiden. Min viktigaste källa är konstverken i sig, som jag närgånget studerat på plats. Jag har också haft nytta av tidigare forskning inom ämnet, så som Karin Sidéns avhandling om barnporträtt i svensk stormaktstid, Allan Ellenius forskning om Ehrenstrahls bildidéer samt Anne Banérs texter om synen på barndomen. Jag har velat bidra med mer djupgående analyser av barnen som förekommer i konsten på Drottningholm, som därmed blir del av hela slottets inredningstankar och illustrerar ett helhetskoncept, men utifrån rum med olika funktioner och utifrån olika tidsepoker. En röd tråd i uppsatsen är graden av realism. Som bland andra Ellenius påpekat ökade graden av realism ju längre ned på samhällsstegen som den avbildade stod, vilket gäller barn såväl som vuxna. Med detta som utgångspunkt har jag fäst särskild vikt vid ett anonymt barn som jag inte hittat något skrivet om tidigare. Detta kan bero på att mycket av forskningen om Ehrenstrahls allegorier utgått från hans egna beskrivningar och han säger ingenting om detta barn utöver att det håller i en sköld. Jag argumenterar för att barnet, som är målat mer omsorgsfullt och realistiskt än de flesta andra i hans allegorier, är målat efter levande modell. Min hypotes, som jag sökt bevis för, men som fortfarande inte kan styrkas till fullo, är att denna modell var Ehrenstrahls barnbarn Karl Wattrang.

There is much to learn concerning the local nobilities in Sweden. This paper attempts to answer whether or not the mayors of Kalmar are to be acknowledged as members of the local elite during the 18th century. In order to receive a deeper understanding regarding this matter, one must also investigate what significations are located within the elite terminology. All this and more will be answered with support from the latest research by Gudrun Andersson among others. By studying inventories of estate and biographical archive materials one is acquainted with fourteen early modern men who carried out their political and social careers in the city of Kalmar. Because the term elite is dependent on the different circumstances in its surrounding environment, it has been divided into four categories in this paper; political, economic, social and cultural factors. The conclusion is made that the mayors all belonged within the political elite. All of them also show some characteristics which are consistent with an economic elite, however the situation is complex and is therefore more firmly discussed in this paper. Concerning social and cultural elites, the mayors fulfill much of the requirements and the conclusion is therefore made that they most certainly are a part of the local elite in Kalmar city.

There is no abstract available for this thesis.

This thesis traces the various vievs of Horace held in the seventeenth century and examines translation and imitation in the period. The main focus is on the influence of Horace's Od.es on lyric poetry. For the period 1600-1660, four authors are discussed in detail, Ben Jonson, Herrick, Marvell and Covley. Other authors treated include Drayton, Samuel Daniel, Donne, Campion, Chapman, Wotton, Carev, Randolph, Cartvr4ght, Habington, Vaughan, Lovelace, Fanshave, Mildmay Fane, George Daniel of Besvick, Milton, Oven Felltham, Izaak Walton, Denham, Waller and Alexander Brome. In the period from 1660, authors discussed include Dryden, Rochester, Sedley, Dorset, Mulgrave, Otvay, Etherep;e, Wycherley, Oldham, Prior, Ambrose Philips, Katherine Philips, John Norris, Cotton, Lady Mary Chudleigh, Anne Finch, Countess of Winchilsea, John Ranrlet, John Tutchin, Temple and Evelyn. The introduction argues briefly that although Horace is normally associated vith the eighteenth century, in fact his Odes were more Influential in the earlier part of the seventeenth century, and points to some misconceptions about the nature of Horace's poetry that have helped to obscure this. It notes that the interest in the Odes in the period is a change from the Mediaeval and sixteenth-century approach to Horace, and points out that the study of hov a period responds to a particular poet throve light on its general character. Chapter I provides some background information. It outlines the place of Horace in the school curricula and shove that the twin emphases in the school reading of HOrace were on his morals and his style, the latter being studied vith the practical aim of imitation. School textbooks are described. An account of editions of Horace in the period follows. It is pointed out that the text of Horace was more corrupt than it is today* and argued that some of the translators of Horace used the school edition of John Bond. The twin emphases of commentary on Horace are again shown to be on his morals and his style: Parthenio's commentary is examined in some detail. Next, some ideas about Horace's life disseminated by the lives included in editions are mentioned. Finally, the influence of quotation books and emblem books is considered. It is argued that though they contained many of the poet*s favourite Horatian passages, this does not mean that writers did not read Horace directly. It is shown that they present a moral Horace and that they sometimes cause distortion through excerpting passages out of context. Chapter II deals with the volumes of translations of Horace by Thomas Drant, John Ashmore, Thomas Hawkins, Henry Rider, John Smith, 'Unknown Mase', and Richard Panshawe. A brief sketch is given of the development of translation in the century, and it is pointed out that there are some examples of the 'imitation* before Cowley. The books of translations are then examined against this background, and it is argued that Fanshawe should not be viewed as heralding the mid-century revolution in translation but as fitting into his own period. The twin interests of the translators are analysed as being content, primarily moral, and lyric style. Fanshawe is seen as of particular interest as trying to embody Horatian moral ideals in his life and as being most successful in conveying Horace's lyricism. Chapterin discusses various ways in trhich the formal aspects of Horace's Odes influenced seventeenth-century lyric. It is pointed out that this influence has been obscured because English writers do not produce pastiches but recreate Horace in modern modes and because of generic differences between the Odes and seventeenth-century lyric. Some differences in structure and style between the two are then considered, Cowley's translation of C.111.i and Carew's The Spring being used to illustrate the differences of structure. Some exceptions are noted in the poetry of Milton, Jonson, Herrick, etc. Next, the similarities and areas of influence are discussed - blends in tone, methods of making lyric personal and various poetic poses.

La famille dans l’invention romanesque est un thème neuf abordé par Challe, le père du roman moderne, dans son chef-d’œuvre Les Illustres Françaises, roman où tous les personnages sont liés par des liens de parenté, d’amitié et de voisinage. Prévost, avec Manon Lescaut et Cleveland, annonce l’évolution du genre littéraire : un fils révolté et un enfant bâtard sont les héros de ces romans. Marivaux dans Marianne et Le Paysan parvenu imprime sa touche artistique en inventant des procédés nouveaux et en créant Marianne et Jacob, deux êtres indépendants qui arrivent à se réaliser dans la vie, malgré le système rude sur lequel se fondent les familles de leur époque. Annoncent-ils ainsi une nouvelle ère où l’individu pourra se réaliser sans l’intervention ni l’aide de sa famille ?Les romanciers trouvent leurs sujets exaltants dans la peinture de la réalité du « vrai » en représentant la vie quotidienne et en créant des scènes frappantes où le personnage authentique mène une expérience exemplaire de la vie. Les membres de la famille : le père, la mère, le fils, la fille sont présentés dans des portraits littéraires. Les pères despotiques et autoritaires séquestrent, traquent, violentent, déshéritent et renient les enfants qui osent défier leur autorité. Le vieux Dupuis refuse de marier sa fille à Des Ronais, un homme riche et de bonne famille. Il veut garder sa fille auprès de lui, considérant qu’elle est sa seule famille ou son unique « bien » dans la vie, dans un monde où la fille est destinée au mariage ou à la vie religieuse. De Bernay père oblige sa fille aînée à se marier contre son gré et contraint Clémence à devenir religieuse. Enfin le père de Des Pres et le père de Des Grieux veulent imposer leur autorité à leur fils. La représentation de la mère bonne ou mauvaise permet de voir comment cette dernière assume la responsabilité parentale et peut parfois sacrifier sa maternité pour respecter les règles de sa société comme elle peut par amour pour son enfant sacrifier la réputation de la famille en acceptant, comme dans le cas de Mme de Miran et Mme de Contamine, de marier leurs fils uniques avec des filles pauvres.Les fils représentent une génération de jeunes gens qui sont à la recherche de soi, voulant se réaliser dans la vie. Après l’expérience, les jeunes gens murissent et acquièrent une certaine sagesse comme dans la réalité. Des Ronais est conseiller au parlement, Des Frans est le cavalier qui a réalisé au champ d’honneur son rêve en combattant. Le jeune Dupuis, le libertin, se réforme et décide de mener une vie réglée.Parmi les filles, la fautive et l’aventurière ne sont pas sévèrement jugées, mais elles sont absentes de la scène occupée par Angélique la fille vertueuse, Manon Dupuis la fille obéissante et Clémence la révoltée. J’ai abordé également l’amour qui est la raison d’être du roman, avec les belles scènes de rencontre où les héros découvrent la passion amoureuse. Le mariage secret, l’union libre sont les moyens qu’emploient les jeunes amoureux pour réaliser leur désir. Afin d’aborder la vie de couple au sein du mariage, les auteurs n’hésitent pas à donner cette fin heureuse au milieu du récit qui voit s’unir Angélique et Contamine, Jacob et Mlle Habert, Cleveland et Fanny. Les auteurs semblent souligner ainsi que le mariage n’est pas une fin en soi, que le plus important c’est l’amour, l’entente et l’harmonie de l’être au sein de son groupe et de sa famille. / The French family in the novels of the first part of the eighteenth-century according to Challe, Prévost and Marivaux.The family is a new subject treated by Challe, the founder of the modern novel, in his masterpiece Les Illustres Françaises. All the characters are bound by kinship, friendship or neighbourhood relations. Prevost in Manon Lescaut and Cleveland modernises the fictional genre: a rebellious son and a bastard are the heroes of his novels. Marivaux in Marianne and Le Paysan parvenu invents a new artistic process and creates Marianne and Jacob, both of whom are independent. Despite the harsh system on which the family of their time was based, they are able to fulfil themselves in life. Is this the start of a new era when the individual can realize himself without the help and the support of his family?The novelists find their subject matter in the painting of reality, of "the truth”, they represent everyday life and create striking scenes in which an authentic character lives an exemplary life.The family members: father, mother, son, daughter, are presented in literary portraits. Despotic and authoritarian fathers kidnap, persecute, abuse, disinherit and disown children who dare to challenge their authority. Old Dupuis refuses to marry his daughter to Des Ronais, a rich man son of good family. He wants to keep his daughter with him, considering her as his only family and his only “treasure” in life, in a world where girls are destined for marriage or for religious life. Bernay Senior obliges his eldest daughter to marry against her will and forces Clémence to become a nun. Finally the fathers of Des Pres and Des Grieux want to impose their authority upon them.The representation of the good or bad mother shows that she is capable of assuming parental responsibility and also shows how she sometimes sacrifices her motherhood in order to respect the rules of her society, in the same way as she can, through love for her son, forfeit her family’s reputation by accepting to marry their only son with poor girls, as is the case with Mme de Miran and Mme de Contamine.The sons represent a generation of young people who are seeking to fulfil themselves in life. With experience, the young people mature and acquire some wisdom, as is the case in real life. Des Ronais becomes an advisor to parliament; Des Frans is now the gentleman who has realized his dream by fighting on the field of honour. Dupuis the rake reforms and decides to lead an orderly life.Among the daughters, deviant and adventurous are not severely judged in the novels, but they are absent from the stage occupied by the virtuous daughter Angélique, the obedient Manon Dupuis and the rebellious Clémence.My thesis also deals with love, the raison d’être of the novel. We find beautiful scenes of encounter, where the heroes discover the passion of love. Secret or common-law marriage are the means used by the young lovers to be with their beloved. So as to be able to portray the life of the married couple, the authors do not hesitate to arrive at this happy ending in the middle of the story. This is the case with Angélique and Contamine, Jacob and Mlle. Habert, Cleveland and Fanny. The authors underline that marriage is not an end in itself: the most important thing is love, understanding and harmony within the family.

No description available.

No description available.

Denna studie har som syfte att undersöka bänkrummets betydelse för vidmakthållandet av hierarkier och status i 1700-talets Falun. Materialet som används för att uppfylla detta syfte består främst av kyrkorådsprotokoll ifrån Kristine församling i Falun mellan 1744-1784. Utöver dessa kyrkorådsprotokoll används stundtals biografier för att kunna ge en djupare bild av vissa individer. Resultatet visar att det under den undersökta perioden råder en strikt uppdelning av kyrko-rummet. Det mest uppenbara är uppdelningen mellan kvinnor och män. Uppdelningen av kyr-korummet följer emellertid inte bara könstillhörighet utan även ett mönster för över- och un-derordning. Inflytelserika personer satt långt fram i kyrkan och detta gällde både på manssi-dan som kvinnosidan i kyrkan. Ju längre bak i kyrkan man satt desto lägre social status hade man. Att sitta utmed en vägg verkar inte heller ha varit förknippat med hög status i Falun. Bänkplaceringen i kyrkan blev ett sätt att upprätthålla skillnad mellan människor, dock inte helt utan utmaningar och undantag.

Akademisk avhandling--Åbo, 1999. / Bibliogr. p. 324-334. Résumé en anglais.