Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.

Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).

Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnés of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue.

Cette thèse a pour objectif de déterminer quelques aspects des figurations du sujet au XVIIe siècle à travers une lecture conjointe des romans à la première personne et des textes philosophiques de cette période. Partant de questionnements proches, ces deux genres discursifs construisent une figure du sujet savant et itinérant : être animé d'un désir de connaissance et amené à repenser les conditions d'énonciation de son expérience particulière. Pour les auteurs du corpus, la vérité se découvre au fil d'expériences singulières si bien que dire le monde avec exactitude revient à l'énoncer à la première personne, à en rendre une perception d'abord subjective. Se pose alors le problème de la légitimation de l'énonciation personnelle, légitimation qui permet d'articuler la première personne à une altérité tout en conservant la singularité du sujet. Cette singularité se double toujours d'une dispersion des identités du sujet et des référents de la première personne. Mais narration, fiction et usages du corps figurent cette identité en constellation. Les deux premières exposent la diversité des visages du « je », leurs concordances ou leurs discordances, à la fois être passé et présent, homme réel et personnage imaginaire, narrateur et auteur. Dans les usages liés aux peines et aux plaisirs du corps se dessine une autre forme de rencontre possible entre la particularité du sujet et l'autre : celui qu'il désire, avec lequel il souffre, avec lequel il jouit, qui vit en lui. Par tous ces aspects, énonciatif, narratif, fictionnel, physique, la subjectivité construite par les textes est toujours et essentiellement une relation : récit raconté pour rejoindre autrui. / The objective of this thesis is to set out several aspects of the figuration of the subject in the 17th Century, through a joint reading of first person novels and philosophical texts from this period. Beginning with similar questions, these two discursive genres construct a figure of a knowing and itinerant subject, a subject animated by the desire to know and thus guided to rethink the conditions that articulate his particular experience. For the authors of these works, the truth is discovered through a series of singular experiences and experiments; the world more clearly announces itself in the first person, rendering a principally singular perception. This poses the problem of the legitimation of personal pronouncement, legitimation which allows for the articulation of the first person with an alterity, while conserving the singularity of the subject. This singularity always doubles as a dispersion of the identities and referents of the first person. Still, narration, fiction and corporal practice show this identity as constellation. The first two expose the diverse faces of the ‘I’, their agreements and disagreements, their being at the same time past and present, real persons and imaginary characters, narrator and author. From the practices tied to the pain and pleasure of the body is drawn another form of possible encounter between the particularity of a subject and an other: the one he desires, with whom he suffers and plays, the one who lives in him. Through all these aspects, enunciative, narrative, fictional, physical, the subjectivity that is inscribed in and described by these texts is always primarily relational: an account recounted to encounter the other.

The thesis lays emphasis on the establishment and exercise of English colonial policy and authority in Virginia during the 17th century. The thesis deals with the political bodies, administrative structure and framework of political system. Primarily is focused on the character, activity, the causes of conflicts and their resolutions. The thesis concentrates on the relations among the leading institutions in Virginia; e.g. Governor, Council of State, General Assembly, but also between Virginia and England. Further, tries to get hold of the ways of appointment of the governors, councillors and election of the burgesses. The thesis also describes the origin and development of the county and local system. Keywords: England, colonies, colonial administration, North America, the Stuarts, 17th century,

The goal of the thesis is to analyze war customs of Tarahumara people of northern Mexico during colonial era. The work focuses on technological aspects of warfare like weaponry, strategy and tactics, as well as social phenomenas like taking captives, using of witchcraft and role of violence in Tarahumara culture. 17th century conflicts are seen as part of the process, which has caused significant changes in tarahumaran perception of war an it's role in society. Analysis of this process is the another goal of this work. Further subject of interest are conflicts with the other native groups in the region and influence of tarahumara armed resistance to changes in attitude of colonial institutions. The work is based on sources of the ecclesiastical origin - reports, letters and chronicles of missionaries, as well as correspondence of viceroyal officials and records of military commanders operating in tarahumara region. Keywords: Tarahumaras, Northern Mexico, Warfare, 17th century, Viceroyalty of New Spain, Presidio Powered by TCPDF (www.tcpdf.org)

Cette étude met au jour les traces de la bataille dans laquelle s’engage le moi humain pour exister à travers la littérature française du XVIIe siècle, ce moi dont Pascal, au milieu du siècle, a capté l’étrange image faite de présence et d’absence. Le moi n’est pas une collection de traits et de marques ; il est d’abord une totalité, ou un être qui tend à la totalité. Un dynamisme œuvre à son éclosion, qui le fait tantôt se joindre à une grandeur derrière laquelle il disparaît, tantôt revendiquer pour lui-même une grandeur et une dignité. Un premier élan le constitue autour d’un noyau d’extra-mondanité présent dans l’individu moderne, noyau générateur d’un conflit avec le monde. Le moi grandit à travers des éclats qui le font s’adosser à cette extra-mondanité : les éclats mélancolique, belliqueux, herméneutique, enfin l’éclat discret de l’honnête homme sont quatre sillages suivis par le moi dans sa quête d’une grandeur. En même temps que ces éclats dans lesquels il progresse se consolident, se développe sous la forme de la pensée, de la passion et de l’amour-propre, un puissant dynamisme propre à constituer le moi en un empire. Cependant, même si une tension l’anime vers l’unité, la fragilité et la division font partie de sa nature. / This thesis brings to light the traces of a battle in which the human self struggles to exist throughout the 17th century in French literature. In the middle of the century, Pascal captured a strange image made up of presence and absence of the self. It was not a collection of characteristics but primarily a universal being or a being that reaches towards totality. Meanwhile, a certain momentum was working towards its emergence, which would sometimes make it join with grandeur and dignity - behind which it would disappear- or which would sometimes claim for itself that grandeur and dignity- in front of which it would appear. An initial impulsion shapes it around a nucleus of extra-worldliness present in modern man. This nucleus generates conflict with the world. The self grows through centripetal forces that make it cling to that nucleus of extra-worldliness. Melancholy, belligerence, hermeneutics and finally the discreet brilliance of the honnête homme are four paths followed by the self in its quest for grandeur. While these strands consolidate themselves, a powerful centrifugal motion develops in the realm of thought, passion and self-love. Nevertheless, even if these forces forge unity, division and fragility are part of their nature.

Écrivain de la première moitié du XVIIe siècle, Le Père Jacques Du Bosc est principalement connu par sa position favorable aux dames et pour sa polémique contre les jansénistes. Sous la protection de Richelieu, Du Bosc rédige, comme Faret et Grenaille, des œuvres concernant l’honnêteté afin d’établir des relations nouvelles entre les individus, à la Cour comme à la Ville. La question de l’honnêteté préoccupe beaucoup l’esprit du XVIIe siècle. Au cours du temps, la société cherche à connaître le « juste milieu » afin de s’approcher de cette qualité mondaine. Dans ce cadre, Du Bosc fut parmi les premiers à proposer un manuel destiné à enseigner aux deux sexes les moyens de parvenir au monde de l’honnêteté.Ce projet se propose d’étudier le contexte historique de l’écriture de Du Bosc, ses positions vis-à-vis de l’honnêteté, et surtout ce que signifie pour lui une honnête femme. Quelles sont les qualités appréciées et quels sont les critères nécessaires pour entrer dans le commerce du monde ? Cette étude vise également à découvrir la culture dont le cordelier est imprégné. Le travail d’annotation nous permet de connaître les sources où il puise pour illustrer son ouvrage.Ce projet vise également à découvrir la vie de Du Bosc, et l’influence de son statut religieux sur l’ensemble de ses ouvrages, et notamment sur L’Honneste femme. Pour cet homme, nourri de l’enseignement de saint François de Sales, quels sont les principes pour « accommoder » la vie dévote à la société mondaine ? Y a-t-il un rapport avec sa position anti-janséniste ?Enfin, l’édition critique rendra compte de l’évolution du texte maintes fois réédité au cours du XVIIe siècle : seront envisagées les différentes étapes de la rédaction et la question des privilèges, puis les textes des premières publications seront confrontés à l’édition corrigée de 1658. / At the dawn of the French Renaissance, under Italian influence, Francis I of France creates a brilliant court life by transforming the Louvre palace and relying on the fascination of artistic works to give his courtiers an impressive image of his power. In the late sixteenth and early seventeenth century, France continues to refine the culture of her court : progressively, elegant and refined courtiers replace those warriors in old time, valorous for sure, but rough and coarse. The author presented here, Jacques Du Bosc, is a writer of the first half of the seventeenth century. His work, L’Honneste Femme aims to teach women how to behave in a society that attaches so much importance to the art of pleasing, and show them that such a behavior is not inconsistent with Christian life. A religious person of the Cordeliers Franciscan, he is known for his innovative visions for female education, and for his polemical writings against Jansenism. On female education, different from the humanist pedagogue Juan-Luis Vives, who applied concrete precepts to guide women’s behaviors in their daily life, Du Bosc would rather help them reflect and distinguish between good and evil by highlighting his stories of virtuous speech, usually drawn from mythology and antiquity. He is convinced that women, like men, can also consciously lead a virtuous life. Although this work is dedicated to women, the advice it contains could often concern both male and female Christians. Reprinted more than twenty times between 1632 and 1665, L’Honneste Femme can be considered as a bestseller of the salon literature in the seventeenth century. Besides, entering a Franciscan monastery at an early age, Du Bosc left his clerical position during the years of 1630-1640 for some unknown reasons. We could suggest that his life in the world has influenced him deeply when it comes to the practice of Christian life in society. Despite his clerical position, Du Bosc believes that “there is nothing more important than knowing the Art of Pleasing” to succeed in the world. This belief is conspicuous in the first two parts of his L’Honneste Femme, often akin to salon literature. Although Du Bosc relies on Christian teaching for his female education in the third part, his readers areelites in the society who are passionate about the salon culture. Written with Court and salon as a background, L’Honneste Femme proposed to teach Christians - and first Christian women - how to behave in a society where authority was pervasive, and the priority was to take others’ opinion into consideration. Such education may seem far from the concerns of the twenty-first century readers. Yet L’Honneste Femme can still serve as a reflective document guiding us to find the way which allows us to be successful in the society while remaining virtuous and to know the art of pleasing while staying sincere.

La Manfrediana methodus, expression de Joachim von Sandrart, désigne une façon de peindre d’après Bartolomeo Manfredi, peintre italien du XVIIe siècle, adaptée aux sujets de genre (le concert, le jeu…) et à certains sujets religieux. Elle trouve sa racine dans l’art du Caravage qu’adopte Manfredi avec originalité et dont ses contemporains vont également contribuer à mettre en place. Les peintres étrangers venus à Rome dans les années 1610 vont être séduits par cette « méthode » et on assistera à des variations autour des thèmes de la bonne aventure, des scènes de réunion ou du Reniement de Saint Pierre. La mort de Manfredi en 1622 et le retour de ses suiveurs dans leur pays à partir de 1620 marquent le début de la diffusion de la « méthode » en Europe. Utrecht et Anvers constitueront ses foyers nordiques principaux où elle s’éteindra autour des années 1630. Sa présence en France (à Paris, à Langres, en Languedoc, en Lorraine, et en Provence) sera notamment soulignée avec les cas de Georges de La Tour et Trophime Bigot. En Italie, si la « méthode » a survécu à Rome jusque dans les années 1630, en Toscane elle cristallise en un langage artistique particulier ; à Naples, sa trace peut être suggérée et c’est avec Mattia Preti qu’elle semble trouver ses derniers souffles, au-delà de 1650. En Espagne enfin, les premières scènes de genre Vélasquez peuvent très bien renvoyer à la « méthode ». Celle-ci, de par son adoption par des artistes d’origines diverses et de sensibilités différentes, se verra ainsi être utilisée avec des variations stylistiques et thématiques et se présente comme l’un des phénomènes artistiques européens les plus importants du XVIIe siècle. / The Manfrediana methodus, an expression by Joachim von Sandrart, refers to a method of painting after Bartolomeo Manfredi, an Italian painter in the 17th century, with life-size and half-length figures for genre subjects (concert, card players…) and some religious ones. The “method” is rooted in the art of Caravaggio adopted by Manfredi with originality, however, his contemporaries also contribute to its establishment. Foreign painters in Rome were seduced by Manfredi’s art as the variations on the Fortune-telling scenes, meeting scenes and the Denials of Saint Peter prove. Manfredi’s death in 1622 and the return of his followers in their country marks the diffusion of the “method” in Europe. Utrecht and Antwerp are its most important centers where it flourished until around 1630s. Its presence in France (Paris, Languedoc, Lorraine, Langres and Provence) can be underlined with the case of Georges de La Tour and Trophime Bigot. In Italy, if the “method” had survived in Rome until the 1630s, it crystallized in Tuscany in a particular artistic language. In Naples, its trace can be suggested and its last breaths, beyond 1650, seems to be found thanks to Mattia Preti. In Spain, the first genre scenes by Velazquez and the Triumph of Bacchus may well refer to it. Through the adherence by painters with various origins and different sensibilities, the “method” is used with stylistic and thematic diversities and represents one of the most important European artistic phenomenon in the 17th century.

Esta tese foi organizada e proposta com a finalidade de comparar a obra e a transgressão de Sóror Mariana Alcoforado ou a ela atribuídas a parte da obra e à transgressão de Sor Juana Inés de la Cruz, uma vez que são duas personagens exemplares do Barroco ibero-americano. Ambas serão aproximadas a partir do conhecimento dos respectivos modelos de escrita, e também através do conhecimento do trabalho artístico criado com base na herança deixada por elas. Estarão em discussão, ainda, a vida que os conventos femininos de Portugal e Nova-Espanha proporcionavam, a profundidade e a insistência com que o século XVII levou a cabo uma política sobre sexualidade e a fortuna crítica de Sóror Mariana e de Sor Juana. Ao remeter o leitor para as Cartas portuguesas, para a Carta atenagórica, para a Respuesta a Sor Filotea, para La carta e para alguns poemas, o próprio exemplo de trabalho artístico e intelectual feminino estará exposto e fundamentado. A remissão permitirá caracterizar e recuperar a dinâmica do percurso feminino e a sua dicção, dentro de um panorama literário masculino. / This thesis was organized and projected with the purpose to compare Soror Mariana Alcoforados compilation and transgression or the collection to her accredited to Sor Juana Ines de la Cruzs compilation and transgression, given that they are both exceptional characters of the Iberia-American baroque. Both will be approached by the understanding of their writing model, and also by the perception of their work of art based on the legacy left by them. Moreover on this text will be discussed the life style that the female convents of Portugal and New-Spain provided to its nuns, the profundity and the persistence that the XVII century carried out its political views on sexuality, and the critique treasure left by Soror Marina and Soror Juana. By conducting the reader to the Cartas portuguesas, to the Carta atenagorica, and to the Respuesta a Sor Filotea, to La carta and some other few poems, the example of the artistic creation and the feminine intellect will be exposed and explicated. This guidance will allow the characterization and the restoration of the dynamic of the feminine trajectory, and its voice within a masculine literature scenario.