Este trabalho consiste no estudo da noção de gênio em Fernando Pessoa. Delimita por objetivo a identificação e análise de seu alcance e grau de penetração tanto nas formulações estéticas quanto poéticas do autor. O estudo se divide em três frentes, que definem a metodologia utilizada e o recorte do corpus investigado. A primeira aborda o ethos do homem de gênio nas cartas a João Gaspar Simões, Adolfo Casais Monteiro e Armando Côrtes-Rodrigues. A segunda frente do trabalho propõe a análise dos textos teóricos de Pessoa sob a perspectiva do gênio, pormenorizadamente os escritos sobre a questão Shakespeare-Bacon. A terceira frente se concentrará no estudo das leituras que Fernando Pessoa realizou do historiador e ensaísta escocês Thomas Carlyle (1795 - 1881), mais especificamente da obra On Heroes, Hero-Workship,and The Heroic in History. / This work consists of a study of the notion of genius in Fernando Pessoa. This research delimits as its goal the identification and analysis of Fernando Pessoas genius both in his aesthetic formulations and his poetics. The present work is divided into three sections, each defined by the methodology used and the selection of the corpus being investigated. The first part addresses the ethos of the man of genius in the letters to João Gaspar Simões, Adolfo Casais Monteiro, and Armando Côrtes-Rodrigues. The second part aims to analyze Pessoas theoretical texts from the perspective of the genius, carefully examining the writings that reflect on Shakespeare-Bacon. The third part will focus on Fernando Pessoas readings of the Scottish historian and essayist Thomas Carlyle (1795-1881), specifically of Carlyles work On Heroes, Hero-Workship, and The Heroic in History.

This dissertation examines early modern literary engagements with the rhetorical and ethical dimensions of law reform. One of the most important mechanisms of social regulation in late-Elizabethan and early-Jacobean England, law reform was a matter of, first, the “perfection” of the organization and expression of existing laws, legal instruments, and legal processes. However counter-intuitively, these officially-sponsored reforms were calculated to prevent more radical innovations that would generate “inconveniences,” systemic contradictions and uncertainties that threatened the law’s ability to produce just results. Second, law reformers generated a discourse on “execution” that targeted the character of legal representatives. This tradition of character criticism, delivered directly from the Lord Keeper’s mouth or circulated through other legal-political, literary, theatrical, didactic, and religious works, encouraged officers’ conscientious execution of their duties and alerted the English public to the signs of the abuse of authority. Law reform created a distinct critical orientation toward legal and governing activities that was reproduced throughout a system of justice in which an extraordinary number of subjects participated. It was a critical orientation, moreover, that was refracted in literature sensitive to the implications of the socio-political dominance of legal language, traditions, and officers. The principles and practices of law reform—along with the conflicts and anxieties that inspired and sprang from them—were appropriated by amateur and professional writers alike. Close readings reveal that Inns-of-Court revellers, Francis Bacon, John Donne and Shakespeare all engaged deeply with the potential, as well as the ethical and practical limitations, of law reform’s central role in local and national governance. In the Gesta Grayorum and Donne’s “Satyre V,” the reveller and the satiric speaker improvise on legal forms to compensate for the law’s imperfections that threaten the security and prosperity of the English subject. In Shakespeare’s Measure for Measure and The Winter’s Tale, the character of the legal-political officer and reformer is tested as he attempts to put policies and principles into practice.

This dissertation examines early modern literary engagements with the rhetorical and ethical dimensions of law reform. One of the most important mechanisms of social regulation in late-Elizabethan and early-Jacobean England, law reform was a matter of, first, the “perfection” of the organization and expression of existing laws, legal instruments, and legal processes. However counter-intuitively, these officially-sponsored reforms were calculated to prevent more radical innovations that would generate “inconveniences,” systemic contradictions and uncertainties that threatened the law’s ability to produce just results. Second, law reformers generated a discourse on “execution” that targeted the character of legal representatives. This tradition of character criticism, delivered directly from the Lord Keeper’s mouth or circulated through other legal-political, literary, theatrical, didactic, and religious works, encouraged officers’ conscientious execution of their duties and alerted the English public to the signs of the abuse of authority. Law reform created a distinct critical orientation toward legal and governing activities that was reproduced throughout a system of justice in which an extraordinary number of subjects participated. It was a critical orientation, moreover, that was refracted in literature sensitive to the implications of the socio-political dominance of legal language, traditions, and officers. The principles and practices of law reform—along with the conflicts and anxieties that inspired and sprang from them—were appropriated by amateur and professional writers alike. Close readings reveal that Inns-of-Court revellers, Francis Bacon, John Donne and Shakespeare all engaged deeply with the potential, as well as the ethical and practical limitations, of law reform’s central role in local and national governance. In the Gesta Grayorum and Donne’s “Satyre V,” the reveller and the satiric speaker improvise on legal forms to compensate for the law’s imperfections that threaten the security and prosperity of the English subject. In Shakespeare’s Measure for Measure and The Winter’s Tale, the character of the legal-political officer and reformer is tested as he attempts to put policies and principles into practice.

Master of Science / Department of Animal Sciences and Industry / Terry A. Houser / The objectives of this study were to determine the impact of 0 and 20% dried distillers grains with soluble (DDGS) and increasing levels of glycerol (0, 2.5 and 5%) in grow-finishing rations on bacon quality and to determine the relationship between belly firmness and slicing yield for commercially produced bacon. A total of 84 barrows (PIC, initially 31.03 kg) were fed corn-soybean meal-based diets organized in a 2 x 3 factorial with primary effects of DDGS (0 or 20%) and glycerol (0, 2.5, or 5%) as fed. Belly length was measured from flank end to blade end. Belly thickness was measured at eight locations evenly spaced around the perimeter of the belly. Belly firmness was measured by centering bellies perpendicularly (skin side up and skin side down) over a stainless steel smokestick and measuring the flex between the edges on the ventral and dorsal edges of the belly. Bellies were injected at 12% of the skinned belly weight resulting in a final concentration of 1.74% salt, 0.5% sugar, 0.3% sodium phosphate, 120 ppm sodium nitrite, and 500 ppm sodium erythorbate in the bellies. Bellies were cooked to an internal temperature of 53oC, chilled, pressed and sliced for evaluation. Belly slice yield was calculated by determining the yield of #1 type bacon slices. Proximate analysis and fatty acid analysis were evaluated by taking every 10th bacon slice beginning from the caudal end to make a composite sample for each belly. Iodine value was calculated using the resulting fatty acid content results. Twenty bacon slices were removed from the belly one-third the length of the belly from the cranial end for sensory analysis and cooking yields. Sensory characteristics were evaluated on an 8-point scale for brittleness, bacon flavor intensity, saltiness and off-flavor. There were no significant DDGS x glycerol interactions on any parameters measured (P > 0.08). Inclusion of 20% DDGS in pig diets decreased belly firmness (P < 0.04) as measured by the belly flop fat side down method. Twenty percent DDGS decreased the percentage of myristic acid, palmitic acid, palmitoleic acid, stearic acid, oleic acid, vaccenic acid, total saturated fatty acids, and total monounsaturated fatty acids (P < 0.01). In contrast, 20% DDGS increased the percentage of linoleic acid, α-linolenic acid, eicosadienoic acid, total polyunsaturated fatty acids and decreased unsaturated: saturated fatty acid ratios, polyunsaturated: saturated fatty acid ratios, and iodine values (P < 0.01). Statistical correlation analysis of belly processing characteristics showed that by increasing belly weight there will be an increase in smokehouse yields (R = 0.81), increasing smokehouse yields will increase slice yield (R = 0.71), increasing belly thickness results in firmer bellies (R = 0.94) and increasing belly firmness will increase slice yields (R = 0.60). Fatty acid content did not correlate with any belly processing characteristic (R < 0.50). Iodine values were highly correlated with Total MUFA (R = 0.83) Total PUFA (R = 0.79), Total TFA (R = 0.75), and UFA: SFA ratio, and PUFA: SFA ratios (R = 0.83). The inclusion of 0, 2.5 and 5% glycerol in swine diets did not affect any measured parameters in this study. In conclusion, feeding DDGS at a level of 20% decreased belly firmness and changed the fatty acid profile; however, it did not affect belly processing or sensory characteristics. Glycerol fed at 2.5 or 5.0% did not affect belly quality, fatty acid profile, or sensory characteristics of bacon.

À travers le rapport au territoire qu’elles convoquent, les œuvres poétiques des Premières Nations nous invitent à repenser les fondements des sociétés américaines, québécoise dans notre cas, à partir de la perspective autochtone. En effet, la poésie amérindienne requiert une double compétence pour le lecteur québécois : d’une part, les œuvres de ce corpus lui font connaître des sensibilités qui s’enracinent dans l’histoire millénaire de l’Amérique, dont fait malheureusement partie l’expérience du colonialisme subie par les Premières Nations; d’autre part, s’accroît au fil des pages l’impression que ces textes convoquent une vision du monde, celle des premiers occupants du continent, qui renvoient aux non-dits qui grèvent sa propre culture, sa propre histoire. En s’appuyant sur le croisement entre les notions d’américanité, telle qu’entendue par René Lapierre dans son essai Écrire l’Amérique (1995), d’américité, développée par l’historien wendat Georges Sioui, et d’américanité première, selon Louis-Edmond Hamelin, cette thèse s’intéresse aux formes de territorialité que convoque le continent américain à partir d’une perspective amérindienne. Le postulat sur lequel se règle le présent travail est qu’une réflexion sur la territorialité québécoise, fondatrice de notre identité, ne peut faire l’économie de l’expérience autochtone. L’analyse du corpus poétique des Premières Nations, depuis la publication du premier recueil de poésie francophone (Andatha [1985] d’Éléonore Sioui) jusqu’aux parutions les plus récentes, révèle que les territorialités mises en forme par les poètes obligent le lecteur à revoir sa conception de l’histoire de l’Amérique en tant que « Nouveau Monde ». La richesse du patrimoine oral autochtone, très influente sur la production littéraire actuelle, montre bien le problème qui se pose lorsque l’on réduit l’Amérique à son histoire « européenne ». Pour retrouver la réalité historique et géographique que le concept de « Nouveau Monde » a pu effacer, il importe de comprendre ce qu’est le territoire et ce qu’il représente, sur le plan de la mémoire comme sur celui de l’expérience américaine contemporaine. Et c’est exactement là que se trouve toute la pertinence des œuvres des poètes amérindiens étudiées dans cette thèse. Ces derniers, en revendiquant une appartenance à une culture millénaire, révoquent d’emblée le concept de « Nouveau Monde ». Ils nous donnent à lire les traces d’une ancienne Amérique que l’on croyait disparue mais dont l’écho résonne dans les textes d’Éléonore Sioui, de Joséphine Bacon, de Rita Mestokosho, de Naomi Fontaine et de tous les autres. En ce sens, ils convoquent des formes de territorialités inspirantes, qui reconnaissent la fragilité des écosystèmes et l’importance des liens qui s’établissent entre tous les êtres vivants qui en dépendent.

<p>When debating the structure of the cosmos, Raphael delivers to Adam perhaps Milton's most famous line: "be lowly wise." With the promise to "justify the ways of God to men," Milton does not limit man's knowledge to base matters, but reclaims the heights of "other worlds" for the poet. Over the course of the seventeenth century, the natural philosophers' material explanations of the natural order were slowly gaining authority over other sources of knowledge, the poets prime among them. My dissertation takes up the competing early modern claims to knowledge that Milton lays down for Adam. I argue that natural philosophy, what today we call "science," emerged as the dominant authority over knowledge by appropriating the poet's imagination.</p><p>The poet's imagination had long revealed the divine hand that marked nature--a task that, as Sidney put it, merited the poet a "peerlesse" rank among other professions. For Bacon, Galileo, and Royal Society fellows, the poetic imagination revealed material explanations of nature's order that other orthodox models and methods could not. For the first decades of the seventeenth century, the imagination aligned poetry and natural philosophy as complementary pursuits of knowledge: Sidney's poet was to imagine a "golden" world that revealed the divine order, the material cause of which Bacon's natural philosopher was to discover in nature. But as the Royal Society fellows countered the claim that they peddled fancies, they severed ties with the poet. In one ingenious rhetorical move, Royal Society fellows proclaimed themselves to have perfected the poet's imaginative work, securing the imagination for natural philosophy while disavowing poetry as the product of an idle fancy. Such rhetoric proved as powerful then as it does now. For Margaret Cavendish, the poet occupies the supplemental role that "recreate[s] the mind" once it grows tired of the "serious" natural philosophical studies. After the Restoration, then, the important role of the poetic imagination would go largely unrecognized even as it set itself to work in what would become the separate disciplines of literature and science.</p> / Dissertation

Thesis advisor: Robert Faulkner / Over the past century we have witnessed and benefitted from a technological boom. Issues ranging from how science should progress to how it should be used continually gain prominence in public debates. This raises the question: what is the ideal relationship between the state and the scientific institutions? I attempt to explain how Francis Bacon, one of the founders of the modern era, answers this with his New Atlantis. Bacon’s realpolitik nature allows the New Atlantis to achieve what very few utopias can, actualization. By looking at New Atlantis’s fictionalized country, Bensalem, we can see Bacon’s ideal relationship between the scientific institution (Salomon’s House) and the state. First, I examine the state and Salomon’s House independently of each other, and then how they interact. Eventually, Bacon shows us that a strong and independent scientific institution is necessary to establish perpetuity to a well ordered state. / Thesis (MA) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Political Science.

This thesis explores the affective and professional relationships that sustained the intelligence network of Anthony Bacon (1558-1601), a gentleman-traveller and spymaster for the earl of Essex. Through a series of interventions in the extensive Bacon papers in Lambeth Palace Library, I present four manuscript-based case studies that cast light on a host of relationship-paradigms particular to early modern English culture that are today poorly understood. Chapter 1 focuses on Anthony Bacon’s relationship with the Puritan Nicholas Faunt, and argues for a new understanding of the language of ardent affection between men that acknowledges the influence on such language of Reformed theology. Chapter 2 explores the correspondence of Bacon with Anthony Standen, an imprisoned Catholic spy, and suggests that the early modern prison may have been a facilitating institution in the creation of instrumental friendship between men. Chapter 3 examines the Inns of Court. I argue that the Inns’ concern for the values of friendship was reflected in the widespread political patronage system that operated out of the four societies, a system that was recognised and manipulated by powerful men. In Chapter 4 I explore a context in which the influence of friendship networks was deleterious: the unstable and unhappy political secretariat of the earl of Essex. I argue that the earl’s outmoded concept of ardent service was as damaging to his own household as it was to his relationship with the queen. Taken as a whole, this thesis argues for a new awareness of the place of feeling and the role of friendship in our understanding of relationships between men in the sixteenth century.

Cette recherche a pour but l'étude de situations traumatiques caractérisées par l'absence de langage. Il se penche plus précisément sur une évaluation du lien paradoxal entre l'expérience de mort psychique où le langage fait défaut et entre différentes expressions créatrices dans les arts (au théâtre chez Samuel Beckett, dans la poésie dans l'œuvre de Paul Celan et dans l'œuvre artistique de Francis Bacon), telles des trouvailles spécifiques au renouvellement du langage et de la vie. Cette démarche est soumise à la capacité de l'artiste de supporter la "mort psychique" et l'absence de représentation et de langage, ce que je nomme dans ce travail "le langage négatif", et d'en faire ressortir, par son art, des piliers qui formeraient un nouveau piédestal à la vie, à l'existence, à la créativité et à la découverte. Ce sujet a préoccupé le célèbre psychanalyste britannique Wilfred Bion et l'a amené à développer un ensemble de concepts théoriques et cliniques. Le modèle conçu dans cette recherche utilise les concepts théoriques et cliniques de Bion concernant les psychothérapeutes et psychanalystes et donne la possibilité de définir les différentes voies par lesquelles un artiste réussit à se servir de la créativité ou du processus de création comme étant un contenant (concept fondamental chez Bion) lui permettant d'accéder à des territoires et des domaines psychiques situés au-delà du langage. Dans une certaine mesure, différemment de Bion focalisé sur la thérapie, le modèle préconisé par cette présente recherche, fait essentiellement appel à la création artistique et à l'artiste au sein du processus créatif, comme étant le témoignage de son expérience dans "l'espace de mort". Il permet ainsi, non seulement de découvrir un "langage" propre à l'artiste mais aussi d'enrichir la théorisation thérapeutique psychanalytique de Bion, qui lui-même, tout comme Freud, admet que l'artiste devance le psychanalyste et parfois même lui trace la voie. / The purpose of this research was to study traumatic situations characterized by the absence of language. More specifically, the focus is on the paradoxical relation between the experience of "psychic death" in which language fails and on the other hand, different creative expressions in the arts (in the theatre of Samuel Beckett, in the poetic writings of Paul Celan, and the paintings of Francis Bacon), as well as specific discoveries recreating the possibility of language and even life. This act is made possible by the capability of the artist to support "psychic death" and absence of representation - named in this work "negative language", and to go through it by his art which recreates an access to life, creativity and new discoveries. This subject preoccupied the eminent British psychoanalyst Wilfred Bion and led him suggest an abundance of new theoretical and clinical concepts. The model developed in the present research uses these conceptualizations of Bion concerning the psychotherapist and the psychoanalyst and applies it to the different ways that serve the artist to successfully use creative processes to form a container (a fundamental concept in Bion’s theories), and thus get access to territories and zones which are beyond common language. Bion focuses on therapy while the present model and research focuses on the artistic creation as a testimony coming back from the "region of death". It enables not only to find a "language" for the artist but also to enrich the psychoanalytic psychotherapeutic theorization of Bion, who admitted as Freud did that the artist precedes the psychoanalyst and even paves a new way.

No description available.