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.

No description available.

Thesis supervisor: Alvin Snider. Includes bibliographic references (p. 214-227).

Negli ultimi decenni il tema della condizione femminile nel mondo antico è stato oggetto di innumerevoli studi che hanno analizzato ogni aspetto del ruolo della donna nella società. Si è rilevato, tuttavia, che la critica moderna ha posto l’attenzione in modo cursorio e mai sistematico sugli aspetti e le implicazioni degli interventi femminili in campo politico . La ricerca ambisce di esaminare in quale modo si sia prodotto il coinvolgimento delle donna nelle dinamiche politiche della società romana per l’arco cronologico compreso tra il III e il II secolo a.C. prestando particolare attenzione all’evoluzione e alle finalità di questo rapporto così come la tradizione antica ne reca memoria. La partecipazione politica per le donne non è prevista in nessuna forma dal mos maiorum e, tuttavia, gli autori antichi testimoniano in più occasioni in cui sono i soggetti femminili a prendere parte attiva alla vita politica della città. Sono queste vicende che costituiscono il focus di questa ricerca che si propone l’obbiettivo di definire le modalità del rapporto donne e politica, individuando le occasioni, le circostanze e le dinamiche della partecipazione femminile alla vita politica della Roma del III e II secolo a.C. / In the last decades scholars focused on every aspects of the women position in Ancient Roman society. However several works paid attention in no systematic way on aspects and implications of female political presence. This research focus on the female political participation and try to explain in which way Roman women play an active role in Roman politics between IIIrd and IInd century B.C. with specific attention to the identification of the evolution and the aims of this role as mentioned in ancient authors. In fact the mos maiorum doesn’t embrace women active participation in politics but anyway ancient authors frequently remember women play a first part in Roman politics. These events are the focus of the research and its aims is to explain the dynamics, the occurrences and circumstances of women political participation from the ancient authors’ mentions.

By reading mournful poems rhetorically, I expand the concept of the elegy in order to reveal continuities between private and communal modes of mourning. My emphasis on readers of elegies challenges writer-centered definitions of the elegy, like that given by Peter Sacks, who describes how the elegy's formal conventions express the elegist's own motives for writing. Although Sacks's Freudian approach helpfully delineates some of the consoling effects that writing poetry has on the elegist herself, this dissertation revises such writer-centered concepts of the elegy by asking how elegies rhetorically invoke ethical relationships between writers and readers. By reading elegiac poems through Kenneth Burke's rhetorical theories and Emmanuel Levinas's ethics, I argue that these poems characterize, as Levinas suggests, subjectivity as fundamentally structured by ethical relationships with others. In keeping with this ethical focus, I analyze anthology poems, meaning short lyric poems written by acclaimed authors, easily accessible, and easily remembered - including several well-known poems by such authors as Emily Dickinson, Gerard Manley Hopkins, and Robert Frost. Anthology pieces invite ethical evaluation in part because they represent what counts as valuable poetry - and also, by implication, what does not. Because anthology poems are read by broad, diverse audiences, I suggest that a rhetorical methodology focusing on writer-reader relationships is essential to evaluating these poems' ethical implications. This rhetorical approach to poetry, however, questions rhetoricians and aesthetic theorists from Aristotle and Longinus to Lloyd F. Bitzer and Derek Attridge who emphasize distinctions between rhetoric and poetics. I address the ongoing debate about the relationship between rhetoric and poetics by arguing, along the lines of Wayne C. Booth's affirmation that fiction and rhetoric are interconnected, that poetry and rhetoric are likewise integrally tied. To this debate, I add an emphasis on philosophy - from which Plato, Ramus, and others exclude rhetoric and poetry - as likewise essential to understanding both poetry and rhetoric. By recognizing the interrelatedness of these disciplines, we may better clarify poetry's broad, ethical appeals that seem so valuable to readers in situations of loss.

The PhD thesis studies the translations and the overall reception of John Donneʼs poetry in the Czech literary culture. Its introduction explains the choice of the topic, outlines the structure of the text and the main question to be answered: to what extent Donne has become a significant presence in the Czech cultural context and how his work has been transplanted through translations. The first chapter gives a brief overview of the historical changes in the appreciation of Donneʼs poetry and, drawing on a range of Donnean literature, attempts to define the main features of his poetics. The second chapter traces the gradual building of an awareness of Donneʼs poetry among Czech readers through translations, translation paratexts and references in the works of Czech literary scholars. It introduces the Czech translators of Donne and discusses their motives for translating his work where these could be ascertained. The first part of Chapter 3 describes the method used in analyzing the Czech translations. It introduces the model of translation criticism presented by Antoine Berman in his analysis of French Donnean translations (Pour une critique des traductions: John Donne, 1995) and comments on its application in the study of the Czech translations. The second part sums up the findings of two...

Submitted by JÉSSICA CRISTINA DA SILVA null (jessica-cristina29@hotmail.com) on 2016-02-22T20:55:35Z No. of bitstreams: 1 Dissertação Unesp - Jéssica.pdf: 9746848 bytes, checksum: a10d503adc688ab31981af29d85a25a8 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-02-23T14:59:00Z (GMT) No. of bitstreams: 1 silva_jc_me_assis.pdf: 9746848 bytes, checksum: a10d503adc688ab31981af29d85a25a8 (MD5) / Made available in DSpace on 2016-02-23T14:59:00Z (GMT). No. of bitstreams: 1 silva_jc_me_assis.pdf: 9746848 bytes, checksum: a10d503adc688ab31981af29d85a25a8 (MD5) Previous issue date: 2016-01-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / La scrittrice siciliana Maria Messina è tra alcuni donne che nella prima fase del Novecento letterario italiano, si distacca nella lotta dal riconoscimento letterario, descrivendo il suo mondo attraverso della prospettiva patriarcale, inoltre su che si riferisce alla condizione femminile. Per tale strategie, la scrittrice usi il suo romanzo La casa nel vicolo, pubblicato nel 1920, “a puntate”, dalla rivista Nuova Antologia di Scienze, Lettere ed Arti, al fine di collaborare con la letteratura di consumo di cui il giornali e le riviste sono associati. Con tematiche prossime al cotidiano e al momento storico, i lettori si trovanno con i drami della vita, con la vittimizzazione dei essere e la opressione dell’individuo piú debole, in altre parole, le donne. Basando in questi fattori, le tecniche del “feuilleton” sarà necessario per comprovare la inserzione della opera della scrittrice siciliana, nel genere “feuilleton”. L'obiettivo di questo studio è quello di presentare le tecniche seriali che vengono utilizzate da Maria Messina nel suo romanzo La casa nel vicolo, in modo che rende visibile l'influenza del genere nel suo romanzo. / Na primeira fase do Novecentos literário italiano muitos folhetins franceses do século XIX foram reeditados por jornais italianos, alcançando grande sucesso de público, motivando Antonio Gramsci a encetar uma discussão em torno da inexistência de uma literatura “nacional-popular” italiana que traduzisse efetivamente as inquietações da época e as necessidades do povo, como tinha ocorrido na França. No entanto, desde 1900, o crítico literário Giuseppe Antonio Borgese vinha resenhando autores que publicavam romances à moda do folhetim francês nas páginas dos periódicos e das revistas italianas que naquele começo de século se multiplicavam e abriam suas páginas para um público mais amplo e diversificado, sobretudo, feminino. Atentos à chamada literatura de consumo, esses periódicos abriram espaço para a escrita feminina, ajudando a introduzir no cenário literário da época mulheres como Maria Messina, cujo romance de estréia, La casa nel vicolo, foi publicado em capítulos, à moda do “feuilleton” francês, nas páginas da revista Nuova Antologia de Lettere, Scienze ed Arti, em 1920. Nesta pesquisa, pretendemos identificar e enumerar as técnicas folhetinescas utilizadas por Maria Messina em La casa nel vicolo, de modo que se torne visível à influência do gênero em sua narrativa. / In the first phase of the Italian Novecento, many French 19th-century serials were reissued by Italian newspapers, reaching great success of audience, motivating Antonio Gramsci to enter into a discussion around the absence of a "national-popular" Italian literature which translates effectively the concerns and the needs of the people, as had occurred in France. However, since 1900, the literary critic Giuseppe Antonio Borgese had been reviewing authors who published French-style novels in the pages of periodicals and Italian magazines, which, at the beginning of the century multiplied and opened its pages to a broader and diverse audience, especially, female. Attentive to the consumer literature call, these periodicals have opened space for the writing women, helping to introduce in the literary scene of the time women like Maria Messina, whose debut novel, La casa nel vicolo, was published in chapters, like the French “feuilleton”, in the pages of the magazine Nuova Antologia de Lettere, Scienze ed Arti in 1920. The objective of this paper is to present the serial techniques that are used by the authoress in his novel La casa nel vicolo, so that becomes visible the influence of gender in his narrative.

The essay describes the transition of female artists from amateur to professional through an analysis of female participation in professional exhibitions during the early 20th century in Italy. Specifically, it examines the history of the Società delle Artiste, the group of pioneers who want to identify themselves in the field of professional art, and the first two exclusively women's international exhibitions organized in Italy. Furthermore, this study contains the analysis of part of the Swedish artist Tyra Kleen's correspondence with two exponents of the Italian cultural elite, Arnaldo Cervesato and Sibilla Aleramo. The method of analysis used is discourse analysis in combination with Pierre Bourdieu's theory of cultural fields.The study identifies the factors behind the change in the status of female artists in Italy as a product of the influence of the phenomenon of female associations as promoters of the "new woman" and her social positioning as a useful and functional element in general modern renewal. The analysis of Tyra Kleen's correspondence confirms the importance of the relational network required for a female artist in Italy to establish herself and identifies the connections to the sphere of women's associations. / Uppsatsen beskriver kvinnliga konstnärers övergång från amatörmässigt till professionellt slag genom analys av kvinnligt deltagande i professionella utställningar under början av 1900-talet i Italien. Specifikt granskas historien om Società delle Artiste, den gruppen av pionjärer som vill legitimera sig inom området för professionell konst, och de två första exklusivt kvinnliga internationella utställningar som organiserats i Italien. Vidare innehåller denna studie analysen av en del av den svenska konstnären Tyra Kleens korrespondens med två exponenter för den italienska kultureliten, Arnaldo Cervesato och Sibilla Aleramo. Analysmetoden som används är diskursanalys i kombination med Pierre Bourdieus teori om kulturfält. Studien identifierar faktorerna bakom förändringen i status för kvinnliga konstnärer i Italien som en produkt av inflytandet från fenomenet kvinnliga föreningar som främjare av den "nya kvinnan" och hennes sociala positionering som ett användbart och funktionellt inslag i  allmänn modern förnyelse. Analysen av Tyra Kleens korrespondens bekräftar vikten av det relationsnätverk som krävdes för att en kvinnlig konstnär i Italien skulle kunna etablera sig och identifierar kopplingarna till de kvinnliga föreningarnas sfär.

No description available.

This master's thesis is primarily concerned with the philosophical conditions of late seventeenth- and early eighteenth-century England that encouraged the emergence of periodical literature and perpetuated the birth of the novel. While most connections between periodical literature and the novel are made on how the former created the readership that ensured the latter's success, I focus on how the epistemology unique to the advent of empirical science together with the growing prominence of casuistic thought created a space in which periodical literature could emerge and the early novel could flourish. I investigate the underlying assertion of a particular philosophical amalgam that I call casuistic-empiricism. Such philosophies encouraged the Renaissance trend that devalued letter-of-the-law thinking, which led ultimately to a significant epistemological transformation in seventeenth-century England. Recognizing the immensity of this epistemological shift, I focus on the early seventeenth-century practice of casuistry as an outgrowth fueled by seventeenth-century natural philosophy. By investigating the poetry and prose of John Donne, I emphasize the pervasive threads of casuistic thought that found parallels in empirical epistemology. I proceed in a linear fashion by following the evolution and growing pervasiveness of casuistic culture into its period of culmination marked by the birth of the Athenian Gazette. Readers' prominent attraction to the periodical is shown to run on a parallel with the incipient empiricism. Indeed, the two prominent lines of thought (empiricism and casuistry) form a dynamic binary where each feeds off of and is fed by the other, culminating in a unique epistemology that aided the emergence of the early novel. Extending this discussion of periodical literature's casuistical qualities into Defoe's Robinson Crusoe, I investigate how Defoe's ties to casuistry are reflected in and perpetuated by Crusoe, illustrating how the novel becomes a medium for resolving cases of conscience. The novel as a genre is shown to be more than just a close relative of the periodical, both genres being spurred into prominence by some of the more salient features attendant to casuistic-empirical philosophy. The novel becomes finally a type of culminating product of a unique casuistic-empirical practice that accounts for the full range of experiences involved in reaching justified conclusions.