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Exemplo e desengano: defesa da mulher na obra de María de Zayas / Example and disillusion: womens defense at Maria de Zayass worksSchardong, Rosangela 06 March 2009 (has links)
Esta tese tem a preocupação de examinar as diferenças e similaridades entre as Novelas amorosas y ejemplares (1637) e sua segunda parte, Desengaños amorosos (1647). Também busca elucidar a conexão entre os inflamados discursos que denunciam os constructos culturais que sustentam a superioridade do homem e a inferioridade da mulher e o trágico fim das personagens femininas de Desengaños amorosos. Ainda, analisar como se organiza e apresenta a defesa da mulher, traço marcante das coletâneas, que foi discutida pela crítica do século XX a partir das diretrizes do feminismo. Apoiando-se nos tratados de arte poética vigentes no século XVII, nos tratados de conduta, nas doutrinas filosóficas, políticas e religiosas que norteavam as práticas sociais e as artes do período, esta pesquisa mostra os aspectos que distinguem e, concomitantemente, unem as duas coletâneas. Com este suporte, distingue a função dos discursos de moldura e dos contos, assinalando sua coerência. Além disso, demonstra que a defesa da mulher se expressa por meio do elogio à virtude e o vitupério dos vícios, de acordo com os padrões éticos e religiosos da Contra Reforma, mas também em consonância com as reivindicações das mulheres da Espanha seiscentista. Mediante a análise da moldura e de dois contos de cada coletânea, a tese faz notar a complexa organização estrutural da obra ao indicar como o significado de cada conto se enriquece quando perfilado aos demais de sua coletânea e, sucessivamente, quando se somam Novelas e Desengaños. Tal disposição revela que a obra de Zayas segue um projeto de unidade. Seu cuidadoso planejamento e diligente execução tornam patente que a escritora compete com a invenção de seus contemporâneos, com vistas a granjear a autorização da escrita feminina e o consecutivo ingresso da mulher no círculo dos autores profissionais. Confirmando as freqüentes denúncias de Zayas sobre a depreciação da mulher nas belas letras da primeira metade do século XVII, a tese propõe que a contista faz de sua obra uma réplica ao difundido modelo das pícaras, celestinas e cortesãs. Conseqüentemente, ao representar mulheres que são exemplo de virtude e homens que são motivo de desengano, por causa de seus vícios, a engenhosa autora inverte os paradigmas e incita o leitor a rejeitar a generalizada difamação da mulher, apresentando-lhe persuasivas razões para respeitá-la e dignificá-la. / This paper focuses on the examination of the differences and similarities existing in Novelas amorosas y ejemplares (1637) and its second part, Desengaños amorosos (1647). It also tries to illuminate the connection between the heated arguments that denounce the cultural conventions supporting mans superiority, womans inferiority, and the tragic end of the female characters in Desengaños amorosos. Moreover, it analyzes how the defense of the woman is organized and presented, such defense is a remarkable trait of the collections of writings that had been discussed by the 20th. Century critics, bearing in mind the feminist conductress. Supported on the treatises about ars poetica present in the 17th. Century, on the treatises about behavior, on the philosophical, political and religious doctrines that guided the social practices and the arts of such period, this research shows the aspects that distinguish and, at the same time, join both collections. With this support, it highlights the function of the frame speeches and tales, emphasizing its coherence. Besides, it shows that the defense of the woman is expressed by means of praise to virtue and invective against vices, according to the ethical and religious patterns of the Counter-Reformation, but also relating to the 17th. Century Spanish womens demands. By means of the analysis of the frame and of two short novels of each collection, this paper brings to mind the complex structural organization of the work, while showing how the meaning of each short tale is enriched when it is placed alongside the other stories of its collection and successively, when Novelas and Desengaños are added to. Such organization reveals that the works by Zayas follow a project of unit. Her careful planning and attentive execution makes it clear that the writer competes against the invention of her contemporaries, aiming to receive the authorization of the womens writing and the consequent admission of the woman in the circle of professional authors. Confirming Zayas frequent accusation against womens detraction in the belles-lettres of the 17th. Century first half, the thesis proposes that the short-story writer makes up her own work as a response to the widespread model of female picaroons, celestinas (panderesses) and courtesans. As a consequence, when representing women who are examples of virtue and men who are a reason for disillusion because of their faults, the ingenious writer inverts the paradigms and encourages the reader to reject the generalized slander against women, presenting persuasive reasons for respecting and dignifying them.
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Exemplo e desengano: defesa da mulher na obra de María de Zayas / Example and disillusion: womens defense at Maria de Zayass worksRosangela Schardong 06 March 2009 (has links)
Esta tese tem a preocupação de examinar as diferenças e similaridades entre as Novelas amorosas y ejemplares (1637) e sua segunda parte, Desengaños amorosos (1647). Também busca elucidar a conexão entre os inflamados discursos que denunciam os constructos culturais que sustentam a superioridade do homem e a inferioridade da mulher e o trágico fim das personagens femininas de Desengaños amorosos. Ainda, analisar como se organiza e apresenta a defesa da mulher, traço marcante das coletâneas, que foi discutida pela crítica do século XX a partir das diretrizes do feminismo. Apoiando-se nos tratados de arte poética vigentes no século XVII, nos tratados de conduta, nas doutrinas filosóficas, políticas e religiosas que norteavam as práticas sociais e as artes do período, esta pesquisa mostra os aspectos que distinguem e, concomitantemente, unem as duas coletâneas. Com este suporte, distingue a função dos discursos de moldura e dos contos, assinalando sua coerência. Além disso, demonstra que a defesa da mulher se expressa por meio do elogio à virtude e o vitupério dos vícios, de acordo com os padrões éticos e religiosos da Contra Reforma, mas também em consonância com as reivindicações das mulheres da Espanha seiscentista. Mediante a análise da moldura e de dois contos de cada coletânea, a tese faz notar a complexa organização estrutural da obra ao indicar como o significado de cada conto se enriquece quando perfilado aos demais de sua coletânea e, sucessivamente, quando se somam Novelas e Desengaños. Tal disposição revela que a obra de Zayas segue um projeto de unidade. Seu cuidadoso planejamento e diligente execução tornam patente que a escritora compete com a invenção de seus contemporâneos, com vistas a granjear a autorização da escrita feminina e o consecutivo ingresso da mulher no círculo dos autores profissionais. Confirmando as freqüentes denúncias de Zayas sobre a depreciação da mulher nas belas letras da primeira metade do século XVII, a tese propõe que a contista faz de sua obra uma réplica ao difundido modelo das pícaras, celestinas e cortesãs. Conseqüentemente, ao representar mulheres que são exemplo de virtude e homens que são motivo de desengano, por causa de seus vícios, a engenhosa autora inverte os paradigmas e incita o leitor a rejeitar a generalizada difamação da mulher, apresentando-lhe persuasivas razões para respeitá-la e dignificá-la. / This paper focuses on the examination of the differences and similarities existing in Novelas amorosas y ejemplares (1637) and its second part, Desengaños amorosos (1647). It also tries to illuminate the connection between the heated arguments that denounce the cultural conventions supporting mans superiority, womans inferiority, and the tragic end of the female characters in Desengaños amorosos. Moreover, it analyzes how the defense of the woman is organized and presented, such defense is a remarkable trait of the collections of writings that had been discussed by the 20th. Century critics, bearing in mind the feminist conductress. Supported on the treatises about ars poetica present in the 17th. Century, on the treatises about behavior, on the philosophical, political and religious doctrines that guided the social practices and the arts of such period, this research shows the aspects that distinguish and, at the same time, join both collections. With this support, it highlights the function of the frame speeches and tales, emphasizing its coherence. Besides, it shows that the defense of the woman is expressed by means of praise to virtue and invective against vices, according to the ethical and religious patterns of the Counter-Reformation, but also relating to the 17th. Century Spanish womens demands. By means of the analysis of the frame and of two short novels of each collection, this paper brings to mind the complex structural organization of the work, while showing how the meaning of each short tale is enriched when it is placed alongside the other stories of its collection and successively, when Novelas and Desengaños are added to. Such organization reveals that the works by Zayas follow a project of unit. Her careful planning and attentive execution makes it clear that the writer competes against the invention of her contemporaries, aiming to receive the authorization of the womens writing and the consequent admission of the woman in the circle of professional authors. Confirming Zayas frequent accusation against womens detraction in the belles-lettres of the 17th. Century first half, the thesis proposes that the short-story writer makes up her own work as a response to the widespread model of female picaroons, celestinas (panderesses) and courtesans. As a consequence, when representing women who are examples of virtue and men who are a reason for disillusion because of their faults, the ingenious writer inverts the paradigms and encourages the reader to reject the generalized slander against women, presenting persuasive reasons for respecting and dignifying them.
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To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674Brooks, Scott A. January 2014 (has links)
By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
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Convenzionalità barocca e coscienza individuale nella lirica religiosa di Johann Christian Günther / Baroque conventionality and Individual Consciousness in Johann Christian Guenther's Religious PoetryBIGNOTTI, LAURA 21 February 2007 (has links)
Da tempo la critica letteraria si interroga sulla possibilità di riconoscere nella lirica di Johann Christian Günther il primo esempio di lirica soggettiva dopo la grande stagione retorica seicentesca. Gli studi tesi ad indagare il valore innovativo della sua poesia sono stati sinora dedicati quasi esclusivamente ai suoi Liebeslieder o Klagelieder; il presente lavoro si concentra invece sull'analisi dei suoi canti spirituali. La ricerca qui condotta intende dimostrare come anche nella geistliche lyrik Günther proponga spesso una rilettura in chiave personale, se non talora autobiografica, di motivi tradizionali, per quanto sopravvivano in essa elementi tipici della poesia barocca. Se i canti giovanili rimangono per lo più ancorati all'imitazione, scarsamente originale, di modelli preesistenti, le composizioni attribuibili alla fase più matura della produzione del poeta testimoniano un'evoluzione nel suo approccio alla materia sacra; tale evoluzione, rispetto alla quale si ravvisa, in particolare, l'influenza del pietismo, prende forma nell'elaborazione sempre più consapevole ed originale di motivi e tematiche. Il lavoro prende in esame diversi gruppi di liriche: il ciclo di Perikopenlieder noti come Geistliche oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget; la Bibeldichtung güntheriana, i Weihnachtslieder e i Bußlieder dell'autore slesiano. / Critical interest in the rich literary production of Johann Christian Günther has been focussing on the possibility of recognizing in his poems the first example of subjective poetry after the great rhetoric season of the 17th century. Most studies investigating the innovative value of Günther's work concentrate on his Liebeslieder or Klagelieder. The present work concentrates instead on his religious poems, and aims to demonstrate that also in his geistliche Lyrik the author is able to offer a personal, sometimes autobiographical, reading of traditional themes, despite the persistence of typical baroque elements. While his early lyrics tend to remain faithful to the scarcely original imitation of pre-existing models, his later poems show a different approach to religious material. This evolution takes the form of a personal and conscious elaboration of spiritual themes, characterized by a considerable influence of pietism. The present research examines in particular Günther's Perikopenlieder, known as Geistliche Oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget, his Bibeldichtung, his Weihnachtslieder and his Bußlieder.
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