O efeito de teatralidade causado na mente do leitor pela narrativa das três encenações burlescas da segunda parte do Quixote A Dulcineia encantada, A condessa Trifaldi e A viagem de Clavilenho deu origem a este trabalho. A esses episódios correspondem os capítulos XXXIV-XLI, quando dom Quixote e Sancho passam uma temporada como hóspedes dos duques e, sem saber, são transformados em atores cômicos, para a diversão dos anfitriões e seus convidados. De acordo com a perspectiva crítica de Anthony Close e de Maria Augusta da Costa Vieira, a análise, sob a visão do cômico e racional, partiu de dois pressupostos. Primeiro, o de que o Quixote é uma obra de entretenimento cuja concepção deriva do clima artístico de seu tempo, e o de que Cervantes, paralelamente ao escritor de novelas, foi um dramaturgo apaixonado pelo teatro. Propôs-se então que as três tramas estão organizadas como um todo, com começo, meio e fim, sob as diretrizes da formação de três jornadas de uma ação dramática, constituindo uma unidade episódica. Daí se infere que os três episódios se incorporam à narrativa sob a forma da comédia, de modo diferente de tantos outros que permeiam a obra: eles apresentam uma estrutura complexa, possível de ser identificada com a da comédia. O enredo da Dulcineia encantada configura o ponto de união entre a prosa e a ação dramática, constituindo a primeira jornada. Os outros dois, formando a segunda e terceira jornadas, se associam ao primeiro unidos pelo mesmo tema, o da necessidade de o cavaleiro ajudar as damas em dificuldades. Ao mesmo tempo, os três episódios integram o desenvolvimento narrativo. Essa estratégia poética, que se assemelha ao que se chama teatro dentro do teatro, provoca o desdobramento da estrutura da composição, enfatizando o tema da imitação do mundo da cavalaria andante. A análise, sempre relacionando texto e contexto, focaliza na prosa os elementos estruturantes do teatro, não só as marcas dramáticas formais, mas também os fatores que transmitem a espetacularidade das encenações. O caminho percorrido para atingir o objetivo, sob o aspecto da composição poética, é o de primeiro comparar os episódios selecionados com a obra dramática cervantina para depois relacioná-los com as preceptivas poéticas e retóricas que circulavam na Espanha naquele final de século, principalmente a Philosophia Antigua Poética de Alonso López Pinciano, e Arte nuevo de hacer comedias de Lope de Vega. Ademais, para a compreensão dos aspectos socioculturais da narrativa, a pesquisa se apoia nos preceitos e códigos de conduta da sociedade de corte à época dos Áustrias, com ênfase em El Cortesano de Lluís del Milà, bem como nos estudos, crônicas e relatos históricos sobre as festas, públicas e palacianas. Nesse sentido, este trabalho demonstra a coerência da leitura dos três episódios como uma unidade episódica com começo, meio e fim, estruturados sob a forma de uma comédia singular, o que apresenta, dentro do cenário artístico-cultural daquelas primeiras décadas do século XVII, um outro experimento cervantino de uma nova maneira de contar histórias. / The effect of theatricality caused in the readers mind by the narrative of the three burlesque performances of the second part of Don Quixote The enchanted Dulcinea, The countess Trifaldi and The journey of Clavileño gave rise to this work. These episodes correspond to chapters XXXIV-XLI, when Don Quixote and Sancho spend a season as guests of the dukes. Without knowing, for the amusement of the hosts and their invitees, the knight and squire are transformed into comic actors. According to the critical perspective of Anthony Close and Maria Augusta da Costa Vieira, the analysis, grounded on the comic and rational view, was established on two assumptions. First, that Don Quixote is a work of entertainment whose conception derives from the artistic climate of its time, and that Cervantes, parallel to the novel writer, was a playwright in love with theatre. In that light it was proposed that the three plots are arranged as a whole, with a beginning, middle and end, under the guidelines of the formation of three journeys of a dramatic action, constituting a single episodic unit. Hence it is inferred the three episodes incorporate the narrative in the form of comedy, differently from many others that permeate the work: they present a complex structure, possible to be identified with that of comedy. The enchanted Dulcineas plot configures the union point between the prose and the dramatic action, constituting the first journey. The other two, forming the second and third journeys, associate to the first by theme, the knights need to help the ladies in distress. At the same time, the three episodes integrate organically the narrative development. This poetic strategy, which resembles to the called theatre within the theatre, provokes the unfolding of the composition structure, emphasizing the theme of imitation of the knight errantry world. Thus, the analysis focuses on prose, always relating text and context, the structuring elements of the theatre, not only the dramatic formal marks, but also the factors that convey the spectacularity of the stagings. The path taken to achieve the objective, under the aspect of poetic composition, is to compare the selected episodes with Cervantes dramatic work to subsequently relate them with the poetic and rhetorical precepts circulating in Spain in the late XVIth century, mainly the Philosophia Antigua Poética of Alonso López Pinciano, and Arte Nuevo de Hacer Comedias of Lope de Vega. Furthermore, to understand the socio-cultural aspects of the narrative, the research is founded on principles and codes of society conduct from the court during the Habsburg period, with emphasis on El Cortesano de Lluís del Milà, as well as in the studies, chronicles and historical accounts about the public parties and palatial. In this sense, this work demonstrates be coherent to read the three episodes as a single episodic unit with a beginning, middle and an ending; structured in the form of a singular comedy, which features, within the artistic-cultural scenario of those first decades of the XVIIth century, another cervantine experiment of a new way of telling stories.

O efeito de teatralidade causado na mente do leitor pela narrativa das três encenações burlescas da segunda parte do Quixote A Dulcineia encantada, A condessa Trifaldi e A viagem de Clavilenho deu origem a este trabalho. A esses episódios correspondem os capítulos XXXIV-XLI, quando dom Quixote e Sancho passam uma temporada como hóspedes dos duques e, sem saber, são transformados em atores cômicos, para a diversão dos anfitriões e seus convidados. De acordo com a perspectiva crítica de Anthony Close e de Maria Augusta da Costa Vieira, a análise, sob a visão do cômico e racional, partiu de dois pressupostos. Primeiro, o de que o Quixote é uma obra de entretenimento cuja concepção deriva do clima artístico de seu tempo, e o de que Cervantes, paralelamente ao escritor de novelas, foi um dramaturgo apaixonado pelo teatro. Propôs-se então que as três tramas estão organizadas como um todo, com começo, meio e fim, sob as diretrizes da formação de três jornadas de uma ação dramática, constituindo uma unidade episódica. Daí se infere que os três episódios se incorporam à narrativa sob a forma da comédia, de modo diferente de tantos outros que permeiam a obra: eles apresentam uma estrutura complexa, possível de ser identificada com a da comédia. O enredo da Dulcineia encantada configura o ponto de união entre a prosa e a ação dramática, constituindo a primeira jornada. Os outros dois, formando a segunda e terceira jornadas, se associam ao primeiro unidos pelo mesmo tema, o da necessidade de o cavaleiro ajudar as damas em dificuldades. Ao mesmo tempo, os três episódios integram o desenvolvimento narrativo. Essa estratégia poética, que se assemelha ao que se chama teatro dentro do teatro, provoca o desdobramento da estrutura da composição, enfatizando o tema da imitação do mundo da cavalaria andante. A análise, sempre relacionando texto e contexto, focaliza na prosa os elementos estruturantes do teatro, não só as marcas dramáticas formais, mas também os fatores que transmitem a espetacularidade das encenações. O caminho percorrido para atingir o objetivo, sob o aspecto da composição poética, é o de primeiro comparar os episódios selecionados com a obra dramática cervantina para depois relacioná-los com as preceptivas poéticas e retóricas que circulavam na Espanha naquele final de século, principalmente a Philosophia Antigua Poética de Alonso López Pinciano, e Arte nuevo de hacer comedias de Lope de Vega. Ademais, para a compreensão dos aspectos socioculturais da narrativa, a pesquisa se apoia nos preceitos e códigos de conduta da sociedade de corte à época dos Áustrias, com ênfase em El Cortesano de Lluís del Milà, bem como nos estudos, crônicas e relatos históricos sobre as festas, públicas e palacianas. Nesse sentido, este trabalho demonstra a coerência da leitura dos três episódios como uma unidade episódica com começo, meio e fim, estruturados sob a forma de uma comédia singular, o que apresenta, dentro do cenário artístico-cultural daquelas primeiras décadas do século XVII, um outro experimento cervantino de uma nova maneira de contar histórias. / The effect of theatricality caused in the readers mind by the narrative of the three burlesque performances of the second part of Don Quixote The enchanted Dulcinea, The countess Trifaldi and The journey of Clavileño gave rise to this work. These episodes correspond to chapters XXXIV-XLI, when Don Quixote and Sancho spend a season as guests of the dukes. Without knowing, for the amusement of the hosts and their invitees, the knight and squire are transformed into comic actors. According to the critical perspective of Anthony Close and Maria Augusta da Costa Vieira, the analysis, grounded on the comic and rational view, was established on two assumptions. First, that Don Quixote is a work of entertainment whose conception derives from the artistic climate of its time, and that Cervantes, parallel to the novel writer, was a playwright in love with theatre. In that light it was proposed that the three plots are arranged as a whole, with a beginning, middle and end, under the guidelines of the formation of three journeys of a dramatic action, constituting a single episodic unit. Hence it is inferred the three episodes incorporate the narrative in the form of comedy, differently from many others that permeate the work: they present a complex structure, possible to be identified with that of comedy. The enchanted Dulcineas plot configures the union point between the prose and the dramatic action, constituting the first journey. The other two, forming the second and third journeys, associate to the first by theme, the knights need to help the ladies in distress. At the same time, the three episodes integrate organically the narrative development. This poetic strategy, which resembles to the called theatre within the theatre, provokes the unfolding of the composition structure, emphasizing the theme of imitation of the knight errantry world. Thus, the analysis focuses on prose, always relating text and context, the structuring elements of the theatre, not only the dramatic formal marks, but also the factors that convey the spectacularity of the stagings. The path taken to achieve the objective, under the aspect of poetic composition, is to compare the selected episodes with Cervantes dramatic work to subsequently relate them with the poetic and rhetorical precepts circulating in Spain in the late XVIth century, mainly the Philosophia Antigua Poética of Alonso López Pinciano, and Arte Nuevo de Hacer Comedias of Lope de Vega. Furthermore, to understand the socio-cultural aspects of the narrative, the research is founded on principles and codes of society conduct from the court during the Habsburg period, with emphasis on El Cortesano de Lluís del Milà, as well as in the studies, chronicles and historical accounts about the public parties and palatial. In this sense, this work demonstrates be coherent to read the three episodes as a single episodic unit with a beginning, middle and an ending; structured in the form of a singular comedy, which features, within the artistic-cultural scenario of those first decades of the XVIIth century, another cervantine experiment of a new way of telling stories.

A travers l'étude des récits de voyage de marchands nord-américains se rendant en Grande-Bretagne entre 1776 et 1815, il s'agit d'analyser les transferts culturels de part et d'autre de l'Atlantique, et d’observer l’émancipation progressive de la jeune république nord-américaine vis-à-vis de son ancienne métropole. Il apparaît que ces marchands apportent une contribution essentielle à la construction d'une identité nationale nord-américaine alors en pleine définition. Le séjour outre-Atlantique encourage ce processus puisqu'il permet aux visiteurs de se mesurer à un "Autre" britannique, de prendre conscience de l’existence d’un caractère propre, de vanter la supériorité de leur modèle national, ainsi que de défendre, en tant que marchands, des valeurs spécifiques et une certaine vision de la société nord-américaine. / By studying the travel writings of North American merchants going to Great Britain between 1776 and 1815, we analyse the cultural transfers across the Atlantic and observe the growing emancipation of the young Republic from its former mother country. It appears that these merchants fully contributed to the creation of an American national identity. Their stay in Great-Britain undeniably encouraged this process, as it enabled visitors to measure themselves against a British « Other », to realise what made them truly American, to boast about their superiority, but also, as merchants, to defend specific values and a certain vision of the American society.

A thèse est consacrée à l’examen de l’image de la Chine en France au siècle des Lumières et au dialogue entre deux civilisations, orientale et occidentale. L’analyse des œuvres littéraires, philosophiques et historiques, ainsi que des documents d’archives fait découvrir l’engouement pour la Chine au siècle des Lumières, les raisons pour lesquelles Voltaire et Montesquieu s’intéressent à ce pays lointain, le rôle des missionnaires catholiques en Chine à cette époque. Les penseurs français ne se contentent pas de consacrer leurs ouvrages à la philosophe et à la civilisation chinoise, ils proposent des mesures concrètes pour mettre en application leurs idées. Dans ce dialogue paradoxal ils inventent la Chine pour changer la France. Cette recherche a pour but de comparer des approches philosophiques françaises et chinoises pour comprendre, comment la diffusion de la philosophie de Confucius en Europe sert le développement des idées d’indépendance et de libre pensée. / The thesis is devoted to the examination of the image of China in France in the Enlightenment and dialogue between two civilizations, East and West. The analysis of literary, philosophical and historical and archival documents to discover the enthusiasm for China in the Enlightenment, why Voltaire and Montesquieu interested in this distant country, the role of missionaries Catholics in China at that time. The French thinkers do not just dedicate their works to the philosopher and Chinese civilization, they propose concrete measures to implement their ideas. In this paradoxical dialogue they invent China to change France.This research aims to compare French and Chinese philosophical approaches to understand how the dissemination of the philosophy of Confucius in Europe is the development of ideas of independence and free thought.

La ricerca ha messo a tema i diversi aspetti della vita privata e pubblica di una famiglia nobiliare a Mantova nel passaggio dall’Antico Regime alla Restaurazione, indagata in quanto rappresentativa del ceto nobiliare di appartenenza: la famiglia di Francesco Alberto d’Arco e Amalia Sanvitale. Di provincia ma non provinciale, la famiglia d’Arco è stata letta nelle sue varie scelte, come, ad esempio, l’educazione dei figli, i collegi frequentati, le strategie di carriera individuate per i figli maschi o l’assegnazione delle doti e la scelta delle alleanze per i matrimoni delle figlie femmine. Tale lettura è stata resa possibile dalla disponibilità dei carteggi conservati nell’archivio della Fondazione d’Arco, fonte che è stata messa a confronto con la coeva documentazione di tipo istituzionale. Dimensione privata e dimensione pubblica hanno trovato un punto di incontro nella lettura di questi carteggi, che con il loro carattere ibrido, a metà tra la “scrittura di sé” e la trascrizione di notizie, bene si prestano all’incrocio di fonti diverse e apparentemente lontane. / The aim of the research is to examine the diverse aspects of the public and private life of a noble family in Mantua in the transition from the Ancien Régime to the period after the Congress of Vienna. The d’Arco were chosen because they were representative of the noble class they belonged to and of the forms of aristocratic life style. From the province but by no means provincial, the d’Arco family has been studied in its various choices, as, for example, the education of its children and the colleges they attended, the strategies employed for the careers of its sons or the dowries and the choice of marriage alliances made for the daughters. Such study has been made possible by access to a privileged source - the family papers and correspondence preserved in the archives of the D’Arco Foundation. A source which was then critically compared with the contemporary institutional documentation. The private and public dimensions meet in the reading of these papers, which with their hybrid character, half way between “writing of oneself” and the transcription of news, lend themselves perfectly to a cross-match between sources that are diverse and apparently distant.

Esta investigación tiene como objetivo indagar sobre los antecedentes y la evolución de la educación infantil a través del método Froebel en España. En diferentes países ha sido un tema abordado ampliamente por la historiografía educativa en los últimos años. Algunos de estos estudios se han realizado utilizando el marco comparado internacional. Para poder insertar el caso español en dicho marco sería necesario un estudio previo que sitúe los antecedentes, influencias e interpretación del mismo en el contexto histórico educativo del país. La investigación que trata de abordar dicho estudio y que contempla fuentes y agentes implicados en el proceso de recepción e interpretación. La reconstrucción histórica de la recepción, difusión y consolidación de determinados elementos de la cultura material constituyen en sí mismos la radiografía de la implantación de una reforma educativa en un país determinado / This research project has the objective of investigating the backgrounds and evolution of the early childhood education in order to the spread of Froebel method in Spain. In different countries has been a topic widely discussed by historians of education in recent years. Some of these studies have been carried out using the international comparative framework. In this framework the Spanish case should be require a previous study that puts the background, influences and interpretation of the historical context in the country's education. This investigation tackles this study and considers sources and agents involved in the process of reception and interpretation. The historical record of the reception, dissemination and consolidation of specific elements of material culture provide in themselves an X-ray of the introduction of educational reforms in a country

Entre los siglos II-III d.C. la ciudad de Carthago Noua (Cartagena, España) conoce una serie de transformaciones que alteran su paisaje urbano, su extensión se reduce a la mitad y numerosos edificios públicos y privados son abandonados. En este trabajo se estudia la evolución de la ciudad entre el Alto y el Bajo Imperio a través del análisis de la cultura material cerámica. Siete contextos de la colonia y su entorno son estudiados de manera total, incluyendo todas las producciones (cerámicas finas, ánforas, cerámica común, lucernas...) desde época tardo Antonina hasta el gobierno del emperador Diocleciano. / Between the second and third centuries A.D. the city of Carthago Noua (Cartagena, Spain) meets a series of changes that alter the urban landscape, reducing its size in half and drop-populating numerous public and private buildings. In this work we studied the evolution of the city between Early and Late Empire through the analysis of ceramic material culture. Seven contexts of the colony and its hinterland are studied in whole, including all productions (fine wares, amphorae, coarse wares, lamps ...) from the time of the last Antonine emperors until the reign of Diocletian.

Ce mémoire présente les résultats d'une recherche zooarchéologique portant sur deux occupations d'un site du début de la colonisation à Baie-Saint-Paul (XVIIe-XVIIIe siècle). L'analyse de leurs assemblages fauniques, totalisant 1175 restes osseux, a démontré le caractère diamétralement opposé des deux occupations. Le site d'habitation des goudronniers a révélé une exploitation des ressources sauvages visant à suppléer un élevage déficient et fournir un revenu d'appoint par le commerce des fourrures. Pour sa part, le site de la ferme établie par le Séminaire de Québec a révélé une alimentation basée sur les produits de l'élevage, mais supplée par la chasse de gibier disponible dans les environs immédiats du site. La différence d'exploitation faunique soulignée par l'étude zooarchéologique du site de la ferme du Bas-de-la-Baie a également permis de confirmer le rôle central de l'élevage pour les sites ruraux de la vallée laurentienne tout en soulignant leur variabilité, visible au sein de l'élevage et dans l'apport supplémentaire fourni par la chasse et la pêche. / This Master's thesis presents the results of a zooarchaeological study based on two occupations of a single site dating to the beginning of the colonization of Baie-Saint-Paul (17th-18th centuries). An analysis of the faunal assemblage, a total of 1175 animal bones, has shown the opposite characters of the occupations. The "tar makers'" habitation site reveals the exploitation of wild ressources to make up for deficient animal rearing, as well as the skinning of wild game to provide a supplementary income through the fur trade. The farm established by the Séminaire de Québec reveals an alimentation based on farm produce, augmented by the hunting of wild species from the immediate environment. The zooarchaeological study of the Bas-de-la-Baie farm site also confirms the central role of breeding for rural sites in the St. Lawrence Valley, while underlining their diversity, in which farming, hunting and fishin played complementary roles.

Errata pasted onto front end paper. / Bibliography: leaves 345-370. / ix, 370 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Argues that Renaissance notions of identity, inferiority, and alterity are articulated through religious discourse invoked to make sense of death and apocalyptic and eschatological experience. Also argues that Renaissance ways of enunciating subjectivity are varied and often conflicting. / Thesis (Ph.D.)--Adelaide University, Dept. of English, 2000?

Errata pasted onto front end paper. / Bibliography: leaves 345-370. / ix, 370 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Argues that Renaissance notions of identity, inferiority, and alterity are articulated through religious discourse invoked to make sense of death and apocalyptic and eschatological experience. Also argues that Renaissance ways of enunciating subjectivity are varied and often conflicting. / Thesis (Ph.D.)--Adelaide University, Dept. of English, 2000?