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Among the diverse fabric of masculinities that prestigious authors such as Pedro Calderon de la Barca, Tirso de Molina and Agustin Moreto weave into their plots, fashion proves to be a common thread and a particularly useful tool. Thus, as I approach the idea of "Fashionable Masculinities" and investigate a few "macho" and/or not so "macho men" in Early Modern drama I hope to go beyond the traditional interpretations, stereotypes and icons often associated with men---in particular, Spanish men in Golden Age drama. This will be achieved by revisiting typical cases and compared through research and documentation of atypical representations of maleness that could be considered displacements and/or subversions of the social matrix. In effect, this study explores how the male ideal is shaped and judged both by the essence of his personality, as well as his physical appearance (i.e.: clothing, hairstyle, mannerisms, discourse and voice). As such, it becomes evident that masculinity is moulded, influenced, enhanced, exaggerated and even muted as it is subject to the whim of different fashions prevalent at a specific moment in time. Moreover, a multitude of social, cultural, racial and historical factors determine the always changing image of the so called "macho man". / Therefore, in order to explore distinct representations of masculinity I approach three different comedias by three different playwrights while comparing how the main character's masculinity fared in three very important spaces: physical, social and sexual. I focus my attention on Saber del mal y del bien by Calderon. Secondly, Don Gil de las calzas verdes by Tirso and explored El lindo don Diego by Moreto. Each one the these represents a different degree of palatable male identities given this particular social construct.

Notre étude de la musique pour orgue en France à l’Âge classique se centre sur sa dimension signifiante, et tout particulièrement sur sa fonction représentative du sacré. Notre intérêt a pour origine un constat : à l’heure actuelle, les travaux les plus importants consacrés à ce répertoire négligent la question, alors que la genèse de cette école organistique coïncide avec l’un des moments historiques les plus remarquables de la spiritualité catholique française (en effet, le XVIIe siècle n’est pas seulement le « Grand Siècle des idées » mais aussi le « Grand Siècle des âmes »). Dans cette optique, et partant du principe que la musique religieuse peut se comprendre comme un produit esthético-théologique façonné en fonction des besoins symboliques et expressifs de la liturgie (au même titre que d’autres manifestations d’art sacré), ce travail cherche à mettre en lumière la manière dans laquelle, grâce à un ensemble de catégories esthétiques et de topiques musicaux dirigés par des principes rhétoriques, la musique des organistes français peut communiquer les notions fondamentales de la doctrine chrétienne. Pour ce faire, nous proposons un parcours en quatre parties, abordant successivement les contextes culturel et spirituel du XVIIe siècle en France, les éléments constitutifs de l’univers signifiant du répertoire, l’organisation stylistique du répertoire, et finalement, d’un point de vue herméneutique, l’œuvre de trois compositeurs majeurs de cette tradition musicale : Nicolas de Grigny, Jean-Adam Guilain et François Couperin. / This study of French organ music during the “Classical period” focuses on its signifying dimension, and particularly on its representative function in the liturgy. Our interest springs from an observation: the most important works devoted to this repertoire neglect the question, whereas the genesis of this organ school coincides with one of the most remarkable historical moments of Catholic spirituality. From this point of view, and assuming that sacred music can be understood as an aesthetic-theological product shaped according to the symbolic and expressive topics of the liturgy (in the same way as other manifestations of sacred art), our research seeks to demonstrate the way in which the music of French organists can communicate the fundamental notions of Christian doctrine through a set of aesthetic categories and musical topics directed by rhetorical principles. In this way, our work is divided into four parts, successively highlighting the cultural and spiritual contexts of the seventeenth century in France, the elements of the signifying universe of these music, the stylistic organization of the repertoire, and finally, from a hermeneutic point of view, the analysis of three major composers of this musical tradition: Nicolas de Grigny, Jean-Adam Guilain and François Couperin.

Nous avons poursuivi plusieurs desseins dans cette étude portant sur les dynamiques funéraires à l’est du Lassithi, du XIVe au Ve siècle av. J.-C. L’identification, au travers des traces matérielles, des pratiques collectives et codifiées que constituent les rituels funéraires, empreints d’une forte dimension identitaire, a constitué un premier objectif. Nous avons également cherché à saisir les stratégies territoriales de mise en place des sites funéraires parallèlement aux changements sociopolitiques majeurs qui affectent la Crète durant la délicate période transitionnelle que constitue le passage de l’âge du Bronze à l’âge du Fer. Dans un premier temps, après une présentation du contexte spatiotemporel et du vocable propre à l’archéologie de la mort, nous avons focalisé notre travail sur la description systématique de chaque sépulture dans son environnement propre. Dans un second temps, nous avons procédé en croisant les données matérielles, à une analyse thématique et comparative des nécropoles. La dimension systémique des dynamiques funéraires à l’est du Lassithi a enfin été envisagée à l’aune du contexte chrono-culturel égéen. / This doctoral thesis examining funerary dynamics in the east of Lassithi from the fourteenth to the fifth century B.C.E. has several aims. In the first instance, I seek to identify through the material vestiges the collective and codified practices that constitute the funerary rituals marked by a strong identitarian dimension. I also endeavour to grasp the territorial strategies used in the organisation of funerary sites in parallel to the major socio-political changes affecting Crete during the delicate transitional period marking the passage from the Bronze Age to the Iron Age. After an initial presentation of the spatio-temporal context and the vocabulary specific to the archaeology of death, the thesis turns towards the systematic description of each sepulchre in its own environment. This material data is subsequently combined with a thematic and comparative analysis of the necropolis. Finally, the systematic dimension of funerary dynamics in the east of Lassithi is considered in light of the Aegean chrono-cultural context.

No description available.

Renaissance and Baroque drama offers a view into gender dynamics of the time. What is seen is a development in the allowed expression and manifestation of desire by females, beginning from a point of near silence, and arriving at points of verbal statement and even physical violence. Specifically, in La Mandragola by Niccolò Machiavelli, Romeo and Juliet by William Shakespeare, and Fuenteovejuna by Lope de Vega, there appears a chronological progression, whereby using desire and its expression as a metric in conjunction with modern concepts of gender and sexuality to measure a shift in relation to what is and is not allowed to be expressed by women. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

This dissertation focuses on the elements of performance that contribute to the actress's development of somatic practices. By mastering the art of articulation and vocalization, by transforming their bodies and their environment, these actors created their own agency. The female actors lived the life of the characters they portrayed, which were full of multicultural models from various social and economic classes. Somaesthetics, as a focus of sensory-aesthetic appreciation and somatic awareness, provides a pragmatic approach to understanding the unique way in which the woman of the early modern Spanish stage, while dedicating herself to the art of acting, challenged the negative cultural and social constructs imposed on her. Drawing from early modern plays and treatises on the precepts and practices of the acting process, I use somaesthetics to shed light on how the actor might have prepared for a role in a comedia, selfconsciously cultivating her body in order to meet the challenges of the stage. / by Elizabeth Marie Cruz Peterson. / Thesis (Ph.D.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Miguel de Cervantes’s novel El Ingenioso Hidalgo Don Quijote de la Mancha Part One (1605) and Part Two (1615) has delighted readers for centuries. The literary criticism analyzing just this one product of Cervantes’s literary genius is voluminous. In particular, the novel’s structure has received significant scrutiny, and discussions regarding its unity, or lack thereof, abound. This debate rages today with Cervantine experts still espousing various theories. Puzzling over this quandary and asking why a truly convincing explanation regarding the structure has not emerged, we arrive at a partial answer. We believe that there is unity in the Quijote and that Cervantes created a unified work by ingeniously taking full advantage of the elements of both the “Byzantine” and the chivalric literary traditions, combining them in a harmonizing synthesis. Moreover, he resolved the problem of unity within variety by establishing thematic consistency throughout. The purpose of our study is to explore the confluence of the “Byzantine” and chivalric literary traditions in works that precede Cervantes and to examine how Cervantes innovatively worked with this element in the Quijote of 1605. We present a panoramic view of works written between the thirteenth and the mid-sixteenth centuries, which reveal writers’ efforts to combine, consciously or unconsciously, the various characteristics of the “Byzantine” and chivalric literary traditions. For this project, we look at six representative works written in Spanish or Italian that represent significant antecedents to the Quijote and Cervantes’s unique method of synthesizing the traditions: Libro de Apolonio, Libro del caballero Zifar, Orlando innamorato, Orlando furioso, Palmerín de Olivia, Los amores de Clareo y Florisea y los trabajos de la sin ventura Isea. We investigate each author’s approach at coupling the two traditions and determine his/her degree of success in merging them artistically to produce a coherent whole. Our analysis reveals that not only does Cervantes systematically integrate the two literary traditions in his parody, but he also skillfully devises a way to unify thematically the delightful variety in his work. To wit, Cervantes embraces the theme of literature (fiction) and life (reality) and explores the need for distinguishing judiciously between them. / text

Les fouilles archéologiques à Argilos qui ont pris place entre 1992 et 2018 ont permis de mettre à jour une quantité monumentale d’artéfacts de bronze. Comptabilisant près de 750 artéfacts, la collection d’objets de bronze d’Argilos illustre multiples facettes de la vie, entre autres, quotidienne, domestique et commerciale, qui animaient Argilos depuis sa fondation au VIIe siècle avant J.-C. jusqu’à ce que la cité tombe aux mains de Philippe II, en 357 avant J.-C. L’étude de ce matériel inédit donnera l’occasion, tout d’abord, de faire le point sur nos connaissances liées à l’industrie métallurgique grecque. Sont abordées toutes les étapes préalables à la fabrication d’un produit fini. La seconde partie de ce mémoire consiste en le recensement dans un catalogue détaillé de chaque artéfact mis au jour à Argilos, Celui- ci permet ainsi d’actualiser et de compiler les connaissances sur le matériel de bronze provenant spécifiquement des cités grecques nord-égéennes et d’ainsi compléter et confirmer l’information consignée dans le dixième volume des fouilles d’Olynthe, soit le catalogue le plus récent sur le sujet. L’analyse de la répartition spatiale de ce matériel permet de développer notre compréhension du site archéologique en termes d’utilisation des bâtiments, de leur construction et des activités quotidiennes qui s’y déroulaient. Finalement, une analyse stylistique permet de valider plusieurs hypothèses et d’émettre plusieurs postulats quant à la place qu’occupe Argilos dans le commerce régional et méditerranéen, et à la composition de la population qui l’habite. / The archaeological excavations that took place between 1992 and 2018 have allowed the discovery of a monumental amount of bronze artifacts. Accounting for nearly 750 artifacts, the collection of Argilos bronze objects illustrates several aspects of life, daily, domestic and commercial, which animated Argilos from its foundation in the 7th century BC until when Philipp II conquered the city, in 357 BC. The study of this material, never published before, will give the opportunity, first of all, to gather all of our knowledge related to the Greek metallurgical industry. All the steps prior to the manufacture of a finished product are covered in that first section. The second part of this thesis consists of the census in a detailed catalog of each artefact unearthed at Argilos. Thus, it will allow to complete and confirm the information recorded in the tenth volume of the Olynthe excavations, that is to say the most recent catalog on the subject. The analysis of the spatial distribution of this material allows us to develop our understanding of the archaeological site in terms of the use of the buildings, their construction and the daily activities that took place there. Finally, a stylistic analysis validates several hypotheses and permits the development of several assumptions about the place occupied by Argilos in regional and Mediterranean trade, and the composition of the population that inhabits it.

This thesis examines the water resource management in two Greek colonies in Magna Graecia, Akragas and Metaponto, and the relationship between resource management and political regimes. It asks how similar ancient urban theory was to the practical reality, and if different forms of government made different provisions for water management. Chapter 1 outlines urban and health theories found in the works of ancient theorists. It debunks the idea that Hippodamos was the inventor of grid planning, while introducing the concept of ‘total’ city planning. The focus of Classical scholarship on Athens necessitates discussions of several Athenian water systems and how resource management changed (or continued) through different governments in Athens as a point of comparison for Akragas and Metaponto. This chapter focuses on literary analysis and introduces the controversial Southeast Fountain House, with an in-depth consideration of the fountain’s naming and dating problems. Chapter 2 contains the case studies of Akragas and Metaponto and an exploration of the hydrogeology at the two sites, with an introduction to the hydrological phenomenon of karst activity. A discussion of their unique water features—the kolymbethra at Akragas and the canals in the chora of Metaponto—connects the deliberate planning that occurred in both cities to Hippodamos and the urban theorists. Chapter 3 more fully explores the role of tyrants and democracies in water management. Regardless of authorship, water resource management and water systems are necessary for any city, and so most tyrannical water infrastructure continued to be used and expanded and improved upon even under different governments. Even under tyranny water management is a provision of the state and is engaged with and managed by the citizens of the city. Water management is an essential part of siting and establishing a city, so that it is inseparable from urban planning. / Thesis / Master of Arts (MA)