Diss.--Hamburg. / Vita. Bibliographical references included in Anmerkungen: p. 84-106.

Cette thèse a pour but l'examen des éléments allégoriques dans les Rondeaulx de Charles d'Orléans, poète français du qulnzième siècle, et l'emploi qu'il en fait pour décrire sa conception personnelle de l' amour courtois. Afin d'atteindre à ce but nous primes en considération les vingt-neuf allégories avec leur variantes qui constituent plus de cinq cents des six cents rencontres allégoriques de sa poésle, et les divisâmes en huit groupes généraux dont nous fimes les matières de nos chapltre s II à IX. Le premier chapitre définit le terme "allégorie" et décrlt le developpement de ce procédé. Chapltre I: Un essai de définition du terme "allégorie." On trouve en général deux conditions requises: primo, que l'allégorie concrétise et possiblement personnifie ce qui est à l’ordinaire une conception abstraite; secundo, que l'allégorie puisse se lire sur plusieurs niveaux distincts et conséquents. La deuxiéme partie du chapitre esqulsse le développement de la méthode allégorique à partir de l’affaiblissement du mythe des Anciens et de son remplacement par le mythe chrétien pour arriver à I'épanouissement de l’amour courtois. Chapitre II: Une considération des trois allégories "religieuses" ou divines qui s'occupent à instiguer et à régier les affaires des amoureux courtois. Amours, Dieux et Fortune créent avant tout une ambiance de tension et d'insécurité qui sert d'arriére-plan pour les actions de toutes les autres allégories, surtout celles des chapitres III et IV. Chapitre III: Ce chapitre comprend les allégories des états d'âme dits "positifs:" Espoir, Joye, Heur, Conofort, et Nonchaloir, qui représentent, sous l’ influence de Fortune et d'Amours, les dispositions d’esprit que ressent l'amoureux lorsqu'il envisage le but de sa quête et croit y pouvoir parvenir. Chapitre IV: Beaucoup plus nombreuses sont les allêégories qui décrivent les dispositions d'âme dites "négatives:” Annuy, Merencolie , Soing, Soussy, Deuil, Douleur, Longue Actente, et Desplaisir. Ceux-ci dépeignent l’esprit de l'amoureux qui se croit privé de sa dame parquelque obstacle. Chapitre V: On considére ici deux allégories qui dependent pour leur signification des rapports sociaux entre l'amoureux et sa dame: Loyaute qui slgnifie "fidélité" et capacité de jouer à l’amour courtois selon les régles, et Dangier qui représente tout obstacle social qui intervient entre eux. Chapitre VI: Trois allégories décrivent les époques de la vie humaine: Jeunesse qui a comme signification principale la capacité d'entreprendre une quête amoureuse; Viellesse qui la lui empêche à cause de la déchéance physique et mentale; et Aage qui juge ce qui convient à une certain époque de la vie. Chapitre VII: On peut spéculer que l’amour courtois était pour Charles d'Orléans en grande partie une activité de l’esprit. Deux allégories examinent son activité mentale: Pensee qui insiste suir le côtôé méditatif de l'esprit qui cherche la paix, et Rayson qui accentue le rôle en gagé de l'esprit. Chapitre VIII: Charles d'Orléans allégorisent trois parties du corps. D'abord yeulx et oreilies qui, sous l’influence de Fortune et d'Amours, représentent le rôle des sens dans l'amour courtois. Ce sont eux qui éveillent chez l'amoureux le désir d'entreprendre une quéte. Pour les combattre il y a cueur qui, sous l’influence de Rayson, prêche la modération et la domination des sens par le bon sens. Chapitre IX: Ce chapitre décrit trois allégories: Beaulté, Desir, et Plaisir/Plaisance qui dépendent pour leur effet et leur importance des perceptions sensuelles considérées dans le chapitre précédent. Beaulté incarne l’essence des charmes féminins; Desir, le désir d'entreprendre une quête; et Plaisir/Plaisance qui accentue les plalslrs sensuels à retirer de la récompense offerte par la dame à l'amoureux vietorieux. Chapitre X: Conclusions et résumé des chapitres precedents en signalant la cohérence du monde poétique de Charles d'Orléans. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Inauguraldissertation - Johann-Wolfgang-Goethe Universität. / Includes bibliographical references (p. 239-257).

Versailles au Grand Siècle était le foyer d’où rayonnait la gloire du Roi-Soleil. Toutes les institutions du Royaume, tout comme les Arts, les Sciences et les Lettres y jouaient un rôle en décor de fond des trois grandes scènes où se produisait la majesté royale : le château, les jardins et le Grand Canal. La Marine y participait, conformément à la politique de développement élaborée par Colbert. Le Grand Canal fut alors une annexe des arsenaux, un site d’exposition navale, où, à côté de bateaux dédiés aux loisirs nautiques appréciés par la Cour, des innovations, des prototypes et des bâtiments de combat furent présentés au Roi et concoururent à l’image de sa puissance. Au-dessus de cette flottille de Versailles régnait un bâtiment d’exception, superbe héritier de vingt cinq siècles d’histoire maritime des peuples de la Méditerranée : la galère réale du Grand Canal construite en 1685. A l’époque, la galère – parvenue à son apogée conceptuelle et technique – constituait toujours le navire emblématique de la domination navale du Roi. Bien que surclassée dans les batailles par l’artillerie des vaisseaux, elle conservait un prestige exceptionnel qui tenait notamment à sa magnificence et à son influence dans la communication politique et diplomatique de Louis XIV. Servir sur les galères, tant pour les officiers que pour les sous-officiers, les marins ou les soldats, conférait une haute dignité, très recherchée, sous l’égide de la Foi, de la Justice, de la grandeur et de la puissance du Roi. Une galère à Versailles, une réale, bien sûr, était ainsi dans l’ordre des choses. Elle y fut construite en 1685. Sa renaissance se situerait aujourd’hui dans la logique des restaurations menées depuis plus d’un siècle dans le château et son Domaine pour en retrouver l’apparence et l’atmosphère. Il n’en reste que deux panneaux décoratifs latéraux, et quelques rares informations d’archives. Rien qui renseigne directement sur les cotes de ce navire d’exception. Il a donc été nécessaire de reconstituer d’abord les méthodes de conception et de construction des galères. Il fallut ensuite adapter les résultats obtenus, parfois incompatibles entre eux, à la fonction du bâtiment, afin de parvenir à ressusciter son architecture générale dans laquelle convergent en cohérence toutes les sources et analyses historiques sur ce sujet. / In the 17th century, the Palace of Versailles was the centre of the Sun King’s brilliance and glory. In the kingdom of France, every institution -be it Art, Science or Literature- was staged on the scenes depicting the King’s majesty: the Palace, the Gardens, and the Grand Canal. In accordance with Colbert’s development policy, the Navy had a part in this representation. The Grand Canal became an annex of the arsenals, a place for naval representation, where the leisure ships praised by the Court went alongside with innovations, prototypes and battle ships presented to the King as demonstrations of his power. The highlight of this flotilla was an exceptional vessel, inheriting from twenty-five centuries of Mediterranean naval history: the Grand Canal’s royal galley, built in 1685. At the time, galleys were at their conceptual and technical climax, and were the symbols of the King’s naval domination. Even though underpowered when compared to the vessels’ naval guns, the galleys outshone the latter with prestige: these magnificent ships were key elements in Louis XIV’s influence on politics and diplomacy. Serving on a galley as an officer or not, as a soldier or as a sailor, was a quite enviable dignity, under the aegis of Glory, Justice and Faith.Thus, building a royal galley in Versailles was in the natural order of things. This took place in 1685. For more than a century, several projects to restore the Palace and its estate’s original appearance have been undertook, and a revival of this galley could be a logical outcome. Only two decorative panels of the galley and a few archive records remain, nothing that could account for the actual measurements and technical details of this exceptional ship. The first step of this work was to piece together the methods and knowledge of the galleys’ designers. Then, adapting these –sometimes conflicting- results with the ship’s function in mind allowed to bring back its overall architecture, consistently with every source and historical study on this subject.

This dissertation analyzes the legacy of Protestant allegory in eighteenth-century fictions. In doing so, the dissertation shows that personifications and allegorically inflected characters became increasingly opaque and vulnerable to charges of impersonation as the novel developed in the early and middle eighteenth century. I attribute the distortion of allegorical representation to the conflicting yet intermeshed interpretive frameworks that allegory and the novel demand of their readers. For evidence, I primarily analyze John Bunyan’s The Pilgrim Progress, Jonathan Swift’s A Tale of a Tub, Samuel Richardson’s Pamela, and Henry Fielding’s Jonathan Wild.

No description available.

John Baldessari’s Blasted Allegories (1977-1978) represent a concerted reconsideration of the most active and critical pursuits of the 1960s and ‘70s, including structuralism, post-structuralism, systems-based art, constraint-based approaches to composition, chance, and allegory. Thirty-five of the sixty-some Blasted Allegories are designated here as “later” works in the series because they share formal and structural characteristics; they present arrangements of colored photographs on neutral matte board. Although the later Blasted Allegories initially appear as colorful sentences, the close readings undertaken in this dissertation reveal that these pieces have been generated by the imposition of individual sets of constraints on a combinatorial system. In addition, many of these works appropriate structural models from cultural anthropologist Claude Lévi-Strauss, narratologist A. J. Greimas, and grammarian Noam Chomsky; even though they subsume the rules implied by these structural models, they undergo a post-structural critique wherein fixed relationships are destabilized by word play, homophones, rhyme, and the imposition of such additional operations as algorithms. This dissertation demonstrates how Baldessari solicits art as an experience of cognitive construction, pleasure, and protracted play with the possibilities of meaning. His crypto-narratives take readers along the cognitive spiral theorized by psychologist Jean Piaget that begin with sensory perceptions, expand into operational understandings of these works as products of a combinatory system, and can be built into logical and mathematical apprehensions of the resultant texts. Like many of the embedded models, Piaget’s spiral is counterbalanced in this series by the conflation of vying cultural models into a cacophony of signification. Baldessari’s texts play with readers’ proclivities to search for meaning. The artist solicits protracted interactions from viewer/readers, who are able to discern multiple, simultaneous readings and thus relinquish an ensconced approach toward art as a synthesis of embedded cultural models. Baldessari’s series engages conceptions of allegory as a procedure, a condition of the text, and a hedge against reductive, overarching interpretations. Working in a Duchampian vein, Baldessari posits the components of new syntaxes for art that return readers to these pieces, where variable interactions between readers and these heteroglossic texts ressemble open systems that can unsettle artist-imposed significations.

Orientador: Haquira Osakabe / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-09-05T14:02:22Z (GMT). No. of bitstreams: 1 Lopes_MarcosAparecido_D.pdf: 3640532 bytes, checksum: 4117b635e8240113e88f4d331dcb863e (MD5) Previous issue date: 2005 / Resumo: O objetivo desta Tese é demonstrar a existência de uma dialética do sagrado e do profano e de uma hermenêutica nos romances de José Saramago. Deve-se entender por dialética os movimentos de sacralização e dessacralização que organizam a estrutura narrativa e que, visando a uma critica radical da idéia de transcendência, afetam a própria modalidade do discurso ficcional. A hermenêutica é um jogo interpretativo no qual o romance apropria-se de textos da tradição religiosa e cultural do ocidente, propõe ao leitor uma leitura contundente dessa tradição e, sobretudo, forja no interior da própria narrativa uma interpretação de si mesma. Defende-se nesta Tese que o conceito de alegoria é uma ferramenta hermenêutica que "impõe" ao leitor uma interpretação da matéria narrada. As reflexões iniciais sobre o sagrado, o profano e o ateísmo servem de moldura para situar os construtos ficcionais de Saramago na discussão sobre o sentido do sagrado no mundo moderno. Para se entender os custos, os benefícios e o sentido da prática hermenêutica na economia narrativa, procurou-se descrever o funcionamento de um sistema de metáforas no seguinte corpus literário: Memorial do Convento e História do Cerco de Lisboa. Em O Evangelho segundo Jesus Cristo e Manual de Pintura e Caligrafia,verificou-se os fundamentos dessa hermenêutica no modelo retórico da glosa. Nos demais romances de José Saramago localizou-se a recorrência de três procedimentos de base da sua escrita: o dialético, o hermenêutico e o estilístico. Além disso, buscou-se compreender como os críticos de Saramago responderam à presença dessa hermenêutica na sua obra e como eles inseriram esse escritor na tradição ficcional portuguesa. Por fim, desejou-se saber se a dialética e a hermenêutica do romancista, cujas bases são os conceitos de glosa e de alegoria, levam às últimas conseqüências as idéias de imanência e de uma interpretação ilimitada / Abstract: The objective of this thesis is to demonstrate the existence of a given dialectics of the sacred and the profane as well as a hermeneutics in José Saramago's novels. Dialectics should be understood as the sacralization and desacralization that organize the narrational structure and that, aiming at a radical criticism of the idea of transcendence, affect the fictional discourse modality in itself. Hermeneutics is an interpretive game, in which the novel takes hold of texts concerned with both the religious and cultural western traditions, proposes a trenchant reading of this tradition to the reader and, above ali, shapes an interpretation of itself within the inner side of the narrative. This thesis stands up for the concept of allegory as being a hermeneutic tool which "imposes" an interpretation of the narrated material upon the reader. The first reflections on the sacred, the profane, and the atheism act as a framework that gives track to Saramago's fictional constructs within the discussion abiding the sense of sacredness in the modern world. To understand the costs, benefits and the sense of hermeneutics as a practice regarding the narrative frugality, it was sought to describe the operation of a metaphoric system within the following literary corpus: Baltasar and Blimunda and The History of the Siege of Lisbon. In The Gospel According to Jesus Christ and Manual of Painting and Caligraphy, the grounds of this hermeneutics were verified within the gloss rhetorical model. In the remaining novels by José Saramago, the recurrences of three basic procedures related to his writing were located: the dialectic, the hermeneutic and the stylistic. In addition, there was an effort to understand how the critics of Saramago responded to the presence of this hermeneutics in his works and how they have inserted this writer in the Portuguese fictional tradition. At last, it was requested whether the novelist's dialectics and hermeneutics, whose foundations are the concepts of gloss and allegory, lead the ideas of immanence and of unlimited interpretation up to the uttermost consequences / Doutorado / Literatura Portuguesa / Doutor em Teoria e História Literária

Univ., Diss.--Hamburg, 2003.

Many portraits of Rudolf II were painted and created during his lifetime, forming a significant component of Rudolfine art, however, they have not received a sufficient art historical attention. They document, at times at stylyzed manner, the transformation of Rudolf's appearance. However, their most important task was to demonstrate and make tangeable Rudolf's authentic appearance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander, although, as we know, they did not correspond to reality. A special chapter of the portrait iconography also create complicated allegories about Rudolf's reign relying on representations of personifications, mythological and animal symbols using Rudolf's personal impresa. Most of the portraits follow former portrait types typical for the 16th century, as bust, standing figure or equestrian monument. However, the peculiarity for Rudolfine portraiture is the allegorical portrait Rudolf as Vertumnus painted by Giuseppe Arcimboldo that combines classical portrait with allegory.