Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-22T18:17:37Z (GMT). No. of bitstreams: 1 NocitiFilho_JoseRoberto_M.pdf: 5258866 bytes, checksum: 998e02c892aeb2d07f4d9558ced0009b (MD5) Previous issue date: 1997 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em História

I denna studie undersöks Johan Adolph Gerelius argumentation och framtidsvision gällande implementeringen av de två innovationerna cellfängelset och gasdriven belysning. Det framkommer att Gerelius använder många historiska exempel för att motivera hur innovationer bidrar till samhällelig utveckling. Vidare inspireras han mycket av England, där båda innovationerna har sitt ursprung. Han använder också flera återkommande, mycket laddade begrepp i sin argumentation, så som ”barbari” och ”upplysningens fiender”. Gerelius bedriver sin utförliga argumentation i syfte att förespråka innovationernas framtida samhällsförändrande potential. Han uttrycker en stark utvecklingsoptimism och är influerad av de liberala idéer som spreds genom Europa under tidigt 1800-tal. Denna utvecklingsoptimism leder till att Gerelius förespråkar acceptans av nya innovationer då han anser att de har stor betydelse för samhällelig utveckling. Denna utveckling bör, enligt Gerelius, ske i termer av stabilitet, bildning, förädling och upplysning. Undersökningen lägger fram en tolkning som överensstämmer med den tidigare forskningen, vilken betonar Gerelius positivism för de engelska innovationerna. Dock framhävs även att Gerelius influeras av en stark historiesyn , vilken kan ligga till grund för hans starka utvecklingsoptimism och framtidsvision.

No description available.

No description available.

No description available.

In this dissertation, I seek to analyze events in the 1821 Greek and Romanian revolutions against Ottoman rule in the Balkans using a relational sociology perspective. I am mainly looking at the network position of various figures who played a role in the development of nationalist arguments and ideology, and positing that these figures combined the role of network-broker – a figure who straddles holes among tight knit communities – and cultural brokers – a concept from anthropology involving the promotion of ideas from a “wider world” into a smaller community. I try to show how various configurations of network position and cultural knowledge can be an important determining factor in the success of various revolutionary actions, as well as the ideologies that develop from those actions. This factor which can provide an alternative explanation to that posed by modernization or institutional theories. In Chapter 1, I focus on Lycurgus Logothetis, a cultural and network broker who liberated Samos from the Ottoman Empire, while provoking the massacre of Chios; following the thread of events to France, I show how this event intertwined with events in the French art world, to increase support for Greece. In Chapter 2, I focus on the Phanariots, a group of elite Greek Christians in the Ottoman Empire who used their contracts with abroad to gain a precarious position within the Empire, one that involved the rapid rise and fall of a number of brokerage figures from a small pool of candidates. In Chapter 3, I show how the rebellion against that system, the rebellion of Tudor Vladimirescu, succeeded in creating a nationalist impulse in Romania owing to Vladimirescu’s creation of a quasi-group of mainly Romanian speaking notables, separated from the Greek world, and beholden to his success, and the limitation of this rebellion in the lack of important contacts from abroad. In Chapter 4, I examine the case of Ali Pasha, the rebellious, modernizing Pasha who developed an important base of operations by making local village contacts and reducing the Klepht-Armatoli, an Ottoman institution that depended on appointment the most important bandit in the region as an Imperial agent to keep the peace; and again, show that Ali Pasha’s bid for independence failed because of limited network connections with the Great Powers. Chapter 5 deals with Alexander Mavrocordatos, the network and cultural broker who succeeded in creating a new Greek constitution at the cost of importing old patron-client relations into his new and modernizing state. Finally in Chapter 6, I show the test case of a “trickster”, Georgios Karaiskakis, who handles contradictions between various networks of meaning with sarcasm and deliberate taboo violation, thus “getting action” without needing to use network or cultural brokerage. At the end of these chapters, I hope to have developed a number of interrelated hypotheses about the interaction between network brokerage, cultural brokerage, and the way these operate among the edges of paradox and contradiction in social life.

Thèse : Lettres : Zurich : 1987-88. / Bibliogr. p. 229-236.

‘Chastity on the Early Modern English Stage’ seeks to explain the relationship between tragicomedy’s brief and short-lived English popularity and the royal cult of chastity which spanned exactly the same historical time-frame. This study attempts to define a cultural movement which influenced the political, religious, social, intellectual, aesthetic, and medical fields in the first half of the seventeenth-century and argues that the narrative tropes which structured, and assisted the spread of, the post-Elizabethan cult of chastity were the same tropes governing the tragicomedies so popular in the period. The arguments made for tragicomedy are speculatively extended to all generic forms, with the intention of expanding an area of scholarship still dominated by formalist analysis. By focussing on narrative tropes and locating them within both fictional and non-fictional texts and in the presentation and discussion of significant events (from medical discoveries to liturgical arrangements and royal birthing rituals) this thesis aims to illustrate that the human and cosmic visions articulated by different dramatic genres were as relevant to early modern lives outside the theatre as they were to those within it. Genre is thus less a description of a text’s formal characteristics and more a set of truths governing certain human experiences both in texts and in life. Focussing on Shakespeare’s The Winter’s Tale, two plays by John Ford, Caroline court masques and birthing rituals, Milton’s A Maske and a number of non-professional performances (from the Earl of Castlehaven’s trial to William Harvey’s demonstration of the circulation of the blood), ‘Chastity on the Early Modern English Stage’ describes the four tropes of chastity and their place in tragicomic experience from the death of Elizabeth I to the beheading of Charles I. While Charles’s death and the closure of the theatres are crucial reasons for the abrupt end of the cult of chastity and tragicomedy, this thesis argues that cause must also be attributed to the efforts of pro-Parliamentary and Puritan writers who, throughout the 1630s and 1640s, sought to claim the tropes of chastity for their own rhetoric and cause. Their success resulted in a redefinition of chastity as masculine, individuated, Parliamentarian, Protestant, intellectual, civic and prosaic instead of Catholic, royal, spectacular, feminised, Marian, pietised, and theatrical.

This thesis provides a full-length critical treatment of the Essayes (1600-01) of Sir William Cornwallis (c.1579-1614). Cornwallis' Essayes are the first examples of the ‘familiar’ essay in English: to which the rhetorical shaping of persona and the use of the personal voice are central. This is the first such study of Cornwallis since the first half of the twentieth century, and situates his Essayes within their cultural, social, and material contexts. The thesis draws upon previous work on Cornwallis and his Essayes from the 1930s and 1940s, but also on recent developments in early-modern English studies, especially in the fields of the history of rhetoric and the history of reading. The thesis challenges the assumptions behind two major critical approaches to the early-modern essay: firstly that it is a form in which the personal voice can be unambiguously expressed, and secondly that it is an essentially unoriginal genre which is more closely related to reading than to writing. This thesis qualifies these approaches, while demonstrating that the origins of each are found in the rhetorical practices of early English essays. This thesis argues however that Cornwallis’s essays are elaborate fusions of classical commonplaces, humanistic rhetoric, and ethical theories of how to live, resulting from complex interactions between different strands of humanistic educative practices, and that Cornwallis’s use of the personal voice is shaped by ethically-inflected rhetorical theories of affect and imitation. The thesis further attempts to think about how essays were being read in this period, and to do so offers a study of the material traces of reading, in the form of annotations and commonplace books, left by early-modern readers of John Florio’s English translation of Montaigne (1603).

This thesis provides the first study of the representation, performance, and reception of Shakespeare’s ageing women in early modern and present-day England. It contributes an exposition of the physiology and theory of early modern ageing, drawing on this original material to make an argument for the ageing woman as a source of anxiety within the plays as they were originally staged, and as they are performed and received today. It finds the old and ageing woman in Shakespeare’s drama to be represented as physically and verbally excessive; the thesis also identifies a corresponding urge in the plays and in their reception towards the ageing woman’s containment and control. This containment is exercised in the text, the rehearsal room, the theatre, and the public space of performance reviews. My introduction determines my methodology and establishes the terms of reference for the project. The first chapter defines early modern old age and delivers a study of the early modern literature and theory of the ageing body. Each of the four subsequent chapters explores an ageing female character or characters through the lens of a theme: magic, motherhood, sexuality, and memory. The characters studied are drawn from The Merry Wives of Windsor, Macbeth, The Winter’s Tale, Coriolanus, King John, All’s Well That Ends Well, Antony and Cleopatra, Hamlet, and Richard III. Some brief concluding remarks complete the thesis. The larger project of the thesis is a cultural study. Throughout, I am keen to learn how characters are talked about as well as written and performed. My effort to understand the work which Shakespeare’s older women are asked to carry out in the present day defines my methodology: I draw on prompt books, production recordings, reviews, costume, photographs, programmes, and interviews with actors and directors to aid my investigation, juxtaposing these with close study of the written plays and the early modern culture and knowledge which underpins them. The word count, exclusive of bibliography but inclusive of all footnotes and an appendix, is approximately 92,000.