O propósito desta dissertação é estudar as representações femininas nas letras luso-brasileiras do século XVII, sempre levando em conta os pressupostos teóricos formulados pela crítica brasileira atual. Pretende-se examinar as práticas letradas seiscentistas pelo prisma dos critérios retórico-poéticos vigentes na época, em que se destacam a importância dos elementos visuais. O estudo tem como base o contraponto das figuras de Eva e Maria, formando o grande paradigma da dualidade feminina nas letras coloniais; tal construção da imagem da mulher como tentadora e salvadora foi um longo processo desde as letras dos tempos antigos, se intensificando no período medieval até chegar no século XVII. Desse modo, focalizamos as poesias de Gregório de Matos e alguns sermões do padre Antonio Vieira, dialogando com questões históricas, sociais e artísticas no momento de produção das obras para tentar reduzir os riscos de anacronismo, sempre presentes quando abordamos períodos tão distanciados no tempo. Analisamos variadas configurações femininas nas poesias líricas e satíricas de Gregório de Matos; já nos sermões de Vieira, percebemos que o contraponto entre as concepções mariana e eviana fica mais evidente. Mostramos como as figuras femininas examinadas se aproximavam de Eva ou de Maria, levando em conta o contexto sócio-econômico das mesmas. Notamos que o modelo ideal de mulher encarnando na figura de Maria, difundido pela Igreja com o objetivo de alcançar todas as mulheres, não correspondia à realidade das mesmas no sistema colonial e não se adequava as suas necessidades. Examinamos igualmente como tal construção feminina perfeita e submissa circulava nos manuais de boa conduta em que a família patriarcal se encaixava, atendendo às exigências dos modelos propagados pela Igreja Católica na época. Apesar de todos os esforços da Igreja Católica e do homem para domesticar a mulher, tão temida e admirada pelos mesmos, muitas mulheres fugiram aos padrões sociais e foram estigmatizadas, rotuladas, discriminadas, mas acima de tudo foram mulheres que ficaram registradas nas páginas da Inquisição, na história e principalmente, nas letras luso-brasileiras do século XVII, escritas por homens, como o poeta Gregório de Matos e o padre Antonio Vieira / The purpose of this dissertation is to study the female representations in Luso-Languages of the 17th century, always taking into account the theoretical assumptions formulated by current Brazilian criticism. It is intended to examine the seventeenth century literate practices through the prism of rhetorical-poetic criteria in force at that time, in which we highlight the importance of Visual elements. Such study is based on the counterpoint of the figures of Eve and Mary, forming the great female duality paradigm in colonial languages.This construction of women image as tempting and Savior was a long process since the ancient time languages , being intensified from the medieval period until the 17th century. Thus, we focus on Gregório de Matos poetry and some Father Antonio Vieira sermons dialoguing with historical, social and artistic issues at the time of production of the works to try to reduce the risks of anachronism, always present when we talk about periods so distanced in time. We analyze various female configurations in lyrical and satirical poetry of Gregório de Matos. In Vieira sermons ,we realize that the counterpoint between mariana and eviana conceptions becomes more evident. We show how the female figures examined approached to Eva or Mary, taking into account their socio-economic context .We realize that the ideal model of woman embodying in the figure of Mary and diffused by the Church with the goal of reaching all women did not correspond to their reality in the colonial system and didnt fit their needs. We also examine how such female construction ,both submissive and perfect, circulated in the manuals of good behaviour ,in which the patriarchal family fit, meeting the requirements of the models propagated by the Catholic Church at that time. Despite all the efforts of the Catholic Church and men to domesticate women,considered so feared and admired by them,many women fled social standards and were stigmatised, labelled, broken down, but most of all, were women who were registered in the pages of the Inquisition, in history and especially in the 17TH century Luso-letters written by men, as the poet Gregório de Matos and the priest Antonio Vieira

Orientador: Roberto Romano da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T03:05:00Z (GMT). No. of bitstreams: 1 Oliveira_MaercioAntoniode_M.pdf: 1292800 bytes, checksum: d7a2b04de4cce2217d4e7a48ba0295bf (MD5) Previous issue date: 2006 / Resumo: A relação entre o entendimento e a vontade na Ética de Espinosa é um dos pontos de entrada importante para a inteligibilidade do sistema espinosano. Esta relação permite compreender, diretamente, não só a sua doutrina da vontade, como também a aplicação prática das concepções de tal doutrina. Neste sentido, o objetivo dessa dissertação é expor e examinar esta relação, visando principalmente à delimitação do universo ontológico que a sustenta e o estabelecimento de que o entendimento e a vontade são uma e a mesma coisa, como deduz as proposições 48 e 49 da Segunda Parte da Ética / Abstract: The relation between the understanding and the will in Spinoza¿s Ethics is one of the important entrance points for the intelligibility of the Spinozan system. This relation allows people to understand, directly, not only his doctrine of the wil, but also the practical application of the conceptions of such doctrine. In this sense, the objective of this dissertation is to demonstrate and examine this relation, seeking primarily the delimitation of the ontological universe that sustains it and the establishment that the understanding and the will are one and the same thing, as was traced by the propositions 48 and 49 of the Second Part of Ethics / Mestrado / Mestre em Filosofia

Esta dissertação para obtenção do título de Mestre em História Social analisa três manuais de manejo de espadas, escritos em Portugal e Espanha entre 1580 e 1630. A partir de sua leitura conduzimos reflexões acerca da sociedade de corte, Processo Civilizador, lugar social da espada e duelos. Devido à datação dos manuais enfocamos nossas análises nos reinados Habsburgo e na Restauração de Portugal. / This dissertation for obtaining the title of Master in Social History analyses three manuals of sword handling, written in Portugal and Spain between 1580 1630. From their reading we have conducted reflections on Courtly society, Civilizing Process, social place of the sword and duels. Due to the date of the manuals we have focused our analysis on the Habsburg kingship and the Restoration of Portugal.

O presente trabalho, intitulado Procedimentos e tendências da tradução na Alemanha no século XVII, demonstra, sobretudo através da análise da tradução da obra Los siete libros de la Diana, de Jorge de Montemayor, escrita originalmente em 1559 e traduzida sob o título de Die sieben Bücher der schönen Diana, por Johann Ludwig von Kuefstein, em 1619, e através de considerações das discussões sobre tradução em cinco Poéticas alemãs escritas no século XVII, que houve uma intensa discussão sobre o tema tradução na Alemanha no século XVII. A discussão sobre tradução está contida em obras (Poéticas) que se dedicam a um programa político e cultural no século XVII: o cultivo da língua, cujo principal intuito era a fundação de um instrumento comum de identificação cultural entre os povos de língua alemã. A necessidade política da fundação de um instrumento comum de identificação cultural na Alemanha no século XVII relaciona-se ao contexto histórico e social deste país, em que se sentiam os prejuízos da Guerra dos Trinta Anos (1618-1648) e da peste, assim como os dissabores do relativo \"atraso\" literário em comparação com outros países da Europa Ocidental. O ideal político-cultural de uma língua e literatura alemã de alcance nacional propiciou aos intelectuais alemães, reunidos em sociedades lingüísticas, que utilizassem a tradução como principal meio de recuperação de obras da Antigüidade e da Renascença. Os procedimentos mais freqüentemente utilizados na tradução e as considerações sobre os mesmos são mostrados nos capítulos III e IV deste trabalho. A tendência da tradução, de que se fala na conclusão deste trabalho, leva em consideração algumas poucas peculiaridades dos séculos XV (Nyklas von Wyle) e XVI (Martinho Lutero e Philipp Melanchton) e breves considerações sobre a concepção de tradução de Johann Wolfgang von Goethe (início do século XIX), pois apenas a partir da análise de tendências anteriores e posteriores é que poderíamos definir mais precisamente a tendência da tradução no século XVII. O demonstrado atinge seu objetivo primeiro: refutar a tese de Friedmar APEL (1983), de que entre Lutero e o Iluminismo teria havido estagnação nas reflexões sobre tradução na Alemanha. / This research - Translation procedures and tendencies in 17th century Germany - demonstrates that there was an intensive discussion about translation in Germany in 17th century. This fact can be demonstrated by the analysis of the translation from Montemayor´s Los siete libros de la Diana, originally written in 1559 in Spanish and translated into German in 1619 by Johann Ludwig von Kuefstein as Die sieben Bücher der schönen Diana, and by the discussions on translation in the Poetics written in 17th century Germany. The Poetics written in Germany in 17th century that contain discussions on translation are part of a political and cultural program: language policy. Its main intention was the foundation of an instrument that would serve as common cultural identification among people who spoke German as mother tongue. The political requirement of establishing a common instrument that should serve as cultural identification in 17th century Germany has reference to the historical and social context of this country, in that one felt the damages of the Thirty Years War (1618-1648) and of the pest, as well as of the displeasures due to the relative literary \"delay\", if compared to other lands in Western Europe. The political and cultural ideal of a German language and literature that could expand over all German frontiers allowed the German intellectuals - congregated in linguistic societies - to use translation as the principal mean of re-acquiring Antiquity and Renaissance works. The most frequent procedures in Kuefstein´s translation and their considerations are showed in chapters 3 and 4 of this work. The tendency of translation - about what it is told in the conclusion of this work - takes into account some few peculiarities of the 15th and 16th centuries (Nyklas von Wyle, Martin Luther, Philipp Melanchton) and brief considerations from Johann Wolfgang von Goethe´s conception of translation (beginning of 19th century), because just from the analyses of earlier and later tendencies, it would be possible to describe precisely the tendency of translation in 17th century German. The demonstrated in this research reaches its objective: to refute the thesis of Friedmar APEL (1983), that there has been a stagnation process in the discussions about translation in Germany during the period who comprehends from Martin Luther to the Enciclopedism.

Em 1668, D. Pedro assumiu o governo português, ainda como regente, devido a incapacidade de seu irmão D. Afonso VI. A conjuntura econômica, de finais do século XVII, não era favorável a Portugal. Muitas das possessões do Oriente estavam perdidas e o comércio de especiarias drasticamente reduzido, reflexo do conflito contra a República das Províncias Unidas. A Guerra da Restauração também infligiu grandes perdas aos cofres régios, mesmo com o fim das hostilidades os custos com a desmobilização das tropas foram sentidos por vários anos. O açúcar, que no início do século tinha gerado grandes lucros, sofria com a competição internacional e amargava constantes quedas nos preços. Nesse contexto de redução das receitas e aumento das despesas, medidas foram implementadas visando diversificar as fontes de rendimentos e, aumentar a eficiência dos mecanismos de controle da arrecadação de impostos, com intuito de diminuir os descaminhos das rendas régias. A aclimatação de especiarias, o fomento da economia do Maranhão, o aumento da fiscalização sobre a cultura do tabaco, estão entre as medidas empreendidas no período. A essas ações soma-se a tentativa de revitalizar a indústria açucareira. No presente trabalho pretendemos examinar se as ações implementadas no período foram fruto de um planejamento sistemático, ou, não podem ser consideradas como concorrentes, tendo sido apenas respostas as vicissitudes do período. As conclusões nos permitem afirmar, que observadas pela ótica das ideias econômicas que circulavam por Portugal no século XVII, essas reformas administrativas inseriam-se em um planejamento. / In 1668, D. Pedro assumed the Portuguese government, still as regent, due to the incapacity of his brother D. Afonso VI. The economic situation of the late seventeenth century was not favorable to Portugal. Many of the possessions of the East were lost and the trade of spices drastically reduced, reflecting the conflict against the United Provinces. The Restoration War also inflicted heavy losses on royal coffers, even with the end of hostilities the costs of demobilizing troops were felt for several years. Sugar, which at the beginning of the century had generated large profits, suffered from international competition and bitterly declined in prices. In this context of reducing revenues and increasing expenditures, measures were implemented to diversify sources of income and increase the efficiency of tax collection control mechanisms, in order to reduce the ruin of royal incomes. The acclimatization of spices, the promotion of the economy of Maranhão, and the increase in tobacco control are among the measures undertaken in the period. To these actions is added the attempt to revitalize the sugar industry. In the present work we intend to examine whether the actions implemented were not the result of a systematic planning, or, can not be considered as competitors, and were only responses to the vicissitudes of the period. The conclusions allow us to state that, observed from the perspective of the economic ideas that circulated in Portugal in the seventeenth century, these administrative reforms were part of a planning.

Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T10:19:55Z (GMT). No. of bitstreams: 1 Boni_FlavioFernando_M.pdf: 28120714 bytes, checksum: ee9f5fcd21cd515dda4241ec6334495b (MD5) Previous issue date: 2008 / Resumo: Ao nos depararmos, inicialmente, com um método de instrumento, podemos fazer algumas perguntas para nos auxiliar na forma de estudá-lo: O que este método quer nos ensinar? Qual é a sua essência? No que ele mais focaliza? Quais são os tipos de exercícios e que repertório ele contém? Até o início do século XVI, o trompete não era considerado um instrumento perfeito e harmonioso, no sentido de se fazer boa música ou como um instrumento que possuía musicalidade, mas apenas para se fazer sinais e toques religiosos, civis ou militares. Vinte e quatro anos após a doação do primeiro método de trompete, "Volume di Tutta l'arte della Trombetta" por Cesare Bendinelli (1542-1617), o músico italiano Girolamo Fantini (1602-c1675) publicou o "Modo per imparare a sonare di Tromba", com uma proposta de aplicação sistemática e musical de novos princípios técnicos que determinaram a inclusão do trompete entre os instrumentos considerados perfeitos. Os principais objetivos deste trabalho são: realizar uma tradução do texto introdutório do 'Modo per Imparare a Sonare di Tromba (1638)', de Girolamo Fantini; possibilitar propostas interpretativas aos exercícios e às peças musicais contidas neste método de trompete natural; realizar intercâmbio de informações com profissionais e professores de trompete natural e do trompete barroco. / Abstract: When one initiates an investigative study of a particular method, for the playing of an instrument, it is necessary to ask some fundamental questions: What does this method intend to teach the reader? What is the work's essence? What aspect or aspects does it empathizes? What is the nature of the exercises and repertoire that contains? Prior to the 16th century the trumpet was primarily utilized to perform signals within a religious, civic or military context and was not considered a viable instrument for the production of "art music". Twenty-four years after the donation of the first manuscript of an trumpet method, "Volume di tutta l'arte della trombetta" by Cesare Bendinelli (1542- 1617), the Italian musician, Girolamo Fantini (1602-c1675), published his "Modo per imparare a sonare di Tromba". Fantini's method, applying new technical principles, outlined a musical and systematic approach which determined the inclusion of the trumpet as an art instrument. The main objectives of this work are: to accomplish a translation of the introductory text from Girolamo Fantini's "Modo per Imparare a Sonare di Tromba"(1638), recommend plausible interpretations of the exercises and musical pieces contained within the method, and to initiate an exchange of information regarding natural trumpet performance from professionals and teachers of the instrument. / Mestrado / Mestre em Música

This study is concerned with the ways in which linguistic texts combine with music to form song, essentially an art of relationship. It argues that the relationship has never been a very stable one outside folk song, and traces the development of the relationship in English song from the appearance of the first English madrigals in 1588 to the death of G F Handel in 1759. The different sorts of relationship during this period are discussed in detail, with particular attention being paid to the sort of lyric poetry that is most suitable for musical setting. The conclusion is reached that, in the art of setting a poem to music, the late Elizabethan masters, Thomas Campion and John Dowlland, were supreme in the period under discussion. After them, the aevelopment of a new system of tonality and of denser textures of accompaniment resulted in music's assumption of a more and more Dominant role in the relationship to the neglect and detriment of poetic text.

Contrary to popular belief, three hundred years of Molière studies has not exhausted the possibilities of further research in this field. Of the many Molière plays read and studied, Le Tartuffe is certainly among those that give rise to the most number of questions and the greatest amount of research. While many of the contemporary critics have devoted lengthy and detailed studies to the various aspects of Tartuffe's origins, his development throughout the play and even his influences on later seventeenth century fiction, few have chosen to discuss the importance of all three. Hence, our desire to present a more condensed but better organized version of the facts and speculations surrounding the circumstances of the play Le Tartuffe and more specifically those of the germination and evolution of its main character. Chapter one deals with a general study of the Italian theatrical tradition and discusses the many traces of Italian influences which are present in Molière's hypocrite. Our goal in this first chapter is not to stress Molière's dependence on his Italian colleagues but to illustrate the process of give and take and the rich exchange of ideas which all contribute to the makings of Tartuffe's mysterious but dynamic personality. The second chapter distances itself from the world of fiction to take a closer look at Molière's personal circumstances at the time of Tartuffe's conception and to examine briefly each of the live personnages who may or may not have served as a model for the playwright's fictitious character. Once again, we do not seek to implicate Molière as a man of vengence who was unable to separate his work from his personal prejudices but rather to underline the fact that Molière's creation relied equally on his imagination as well as his encounters in the world of reality. In our third and final chapter we return once again to the world of fiction and make-believe. Chapter three is divided into two parts: the first part deals with a study of other comedies by Molière and the numerous correlations that exist between Tartuffe and the main characters of these other plays. Part two discusses the works of two major writers of Moliere's time; La Rochefoucauld and La Bruyère and the extent to which Molière's Tartuffe influenced the 'raaximes' and the 'caractères'. Although our study of Molière's Tartuffe does not solve all the mysteries surrounding this dynamic character, it does give a better insight of his affinities and his influences within the seventeenth century world of fact and fiction. In our conclusion, we stress and draw upon two main points. In examining the character of the hypocrite, it is important to recognize that he is indeed a rich combination of external sources and influences right from the legacy of the Italians to the various courtisans and nobles of Molière's own time. On the other hand, it is equally vital to keep in mind Tartuffe's own flavor of authenticity for although many of his superficial traits are derived from external sources, there are elements in this fictitious character that render him unique. Secondly, we must consider the author himself and his role in the development of Tartuffe's personality. Time and again it has been suggested that Moliere's characters were in fact no more than 'porte-paroles' of his personal philosophy or worse, tools of vengence against his own real life enemies. We have always adhered to the theory that these suggestions were purely speculative and our research of Tartuffe's origins, affinities and influences have shown us that far from being a tool of vengence, the hypocrite is the reflection of one man's energy, perception and devotion to his work. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This thesis examines the remarkable range of farcical prints that were marketed for 1 children in late seventeenth-century Amsterdam. Evoking controversial theatre plays, these prints picture slap-stick, sexually nuanced comic scenarios that do not seem in keeping with contemporary' convictions that the up-bringing of children was a key means to secure the future of the state. Yet there is evidence to indicate that this printed imagery did play a role in the education of middle-class children. Such contradictions open up significant questions about the reshaping of middle-class identity at a crucial moment in the emergence of the capitalist state. Indeed, the problem that this study investigates emerges from late seventeenth-century debates about the didactic function of comic prints and plays. Defenders of these forms argued that they effectively inculcated social norms-particularly mercantile ethics, gender roles, and class distinctions—in young viewers. Those who attacked the social role of this material, on the other hand, stated that it provided viewing pleasures that actually subverted these pedagogical intentions. Through an analysis of the prints themselves, I examine the ways in which the visual pleasures of these forms lured viewers in order to trap them within moral meanings. While this may have been their intended function, however, I also found much evidence that the enjoyment of farcical forms could, and did, overflow didactic restraints. It was this subversive potential that made comic forms particularly threatening to civic and church leaders of the day. In fact, a number of children's prints were linked to a series of farces that were banned from Amsterdam's theatre in the 1670's. With this, children's prints can be situated in historically specific contests about the control of urban spaces and populations. Throughout this thesis, the function of children's prints is not discussed solely in terms of either discipline or subversion, however. Rather, I argue that it is precisely the unresolved tension between comic pleasure and didactic instruction that characterizes these prints and their uses. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This dissertation investigates how social order was created in the Swedish navy at the end of the Swedish imperial age (1670-1716).  During the period the Swedish navy went through many changes that led to an expanding and re-structuring of both the administration of the Admiralty and the naval activities. These changes contributed to shape the life on board ships and at shipyards in more fixed ways than before. The dissertation analyses the social order on the basis of three overlapping themes, inspired by Michel Foucault’s theories on power relationships and the exercise of power. First it investigates how the navy upheld its hierarchy and formed the relations between superior officers and subordinate men, second how the Admiralty and officers exercised power in order to make the subordinates behave in the desired way and third how the subordinates reacted to the control; especially how they formed different strategies of resistance to challenge or escape it. Using micro-history methodology, in-depth analyses have been made of individuals and situations mostly found in judicial cases from the navy’s own court (the admiralty court).     Social relations were however not only a result of naval control. They were also highly guided by social orders that existed in civil society. Thus naval rank emerged with marital status, age, experience and masculinity ideals into a complex and shifting hierarchy that was constantly questioned. The dissertation shows that upholding naval social order was dependent on the fact that the Admiralty and officers used both productive and repressive power strategies simultaneously. The naval order offered opportunities and careers to those who were obedient and skilful but could threaten the disobedient troublemaker with severe punishments. The order was also highly dependent on individual relations and situations. Since order primarily was challenged in face to face- situations the superiors had to devise power strategies to control those situations. By doing that they at the same time reduced all resistance to separate, single events and repeatedly rejected the slightest implication of any criticism towards the general social order. The power relations thus were a delicate theater were both superiors and subordinates pretended their actions meant something else than it did. From the point of view of the subordinates the social order always was about obligations and rights but from the superiors’ perspective social order basically was the main difference between chaos and control.