Seigneur Dildoe, as this dissertation will contend, was a fixture in Restoration literature and culture (1660-1700). But what was his provenance, by what means did he travel, and why did he come? This dissertation provides a literary history of the fascinating and highly irreverent dildo satire tradition, tracing the dildo satire’s long and winding progress from antiquity to Restoration England, where the tradition reached its early modern zenith. Adding breadth, context, and texture to existing treatments of the trope’s political and sexual potency, this dissertation investigates the dildo satire’s roots in both Greek comedy (Aristophanes, Herodas) and Latin invective (Martial, Juvenal), its influential association in early modern Italy with Catholicism and monastic life (Aretino), and its introduction in early modern England (Nashe), where it cropped up in the works of a surprising number of literary giants (Shakespeare, Jonson, Donne, Marvell). In Restoration England, we find in the satiric dildos of Butler, Rochester, and the contextually rich “Seigneur Dildoe” articulations of a dildo gone viral: the mock-heroic Seigneur deployed as a politically central motif symptomatic of its society’s acute patriarchal fissures. Throughout I argue that the dildo satire’s longevity is due not to a uniformity of purpose or signification (misogynist, anti-Catholic, emasculating, or otherwise), but to its innate versatility and ambiguity as a fugitive sexual and political figure. I also argue that what does in fact unite the satiric dildo’s variety of contingent ends, against what has been assumed in the scholarship, is its status as a markedly anti-Phallic figure. / Graduate / 2018-01-09 / 0401 / 0733 / missmenno.sf@gmail.com

Made available in DSpace on 2016-07-27T13:48:00Z (GMT). No. of bitstreams: 1 Karine Monteiro da Silva.pdf: 797966 bytes, checksum: 5e2645f1036d8dc9e4dc2919eb6eb32d (MD5) Previous issue date: 2005-02-28 / The present work aims at to analyze the instituted religious phenomenon in the city of Trindade, express in the love and the covetousness a belief of The Holy Father. Being possible to perceive the performance of the Catholic church, while legitimate official institution, to develop administration methods "to control" this complex, at the same time where it is allied to the social yearning and politicians of the "laypeople" to be able to reach the support that it is necessary. Taking as base the form of administrative perfomance of Public Power, also public politics in agreement with the necessities displayed for practitioners and promoters of the religions manifestations in favor of the development if the city are traced. These two last agents, they structuralize a reception system of power and raise wealth lead from the Popular Catholicism that, in it considers them to observe: until point it presents characteristics of subordination and/or resistance, not being this sufficiently a passive agent but an active in this religious context. / O presente trabalho visa analisar o fenômeno religioso instituído no município de Trindade, expresso no amor e na cobiça a partir da crença do Divino pai Eterno. Sendo possível perceber o desempenho da Igreja Católica, enquanto instituição oficial legítima, de desenvolver métodos de administração para "controlar" este complexo. Ao mesmo tempo em que está aliada aos anseios sociais e políticos dos "leigos" para alcançar apoio necessário. Tomando como base a forma de atuação administrativa de Poder Público, também são traçadas políticas públicas em concordância com as necessidades expostas por praticantes e organizadores das manifestações religiosas em prol do desenvolvimento do município. Estes dois últimos conduzido a partir do Catolicismo Popular que propôe observar até que ponto ele apresenta características de subordinação e/ou resistência, não sendo este um agente passivo, e sim bastante ativo neste contexto religioso.

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Transubstantiation and the cult of Corpus Christi became crucial Counter-Reformation symbols which were assigned an even more significant role during the process of Catholic renewal from the mid-sixteenth to the mid-eighteenth century. Practices outside Mass, such as pilgrimages, processions, and prayers in front of the consecrated host flourished, in particular, in early modern Bavaria. The former Duchy of Bavaria has generally been regarded as the archetypal ‘confessional' state, as the Bavarian dukes from the House of Wittelsbach took the lead in propagating the cult of the Eucharist. They acted as patrons of Baroque Catholicism which was presented to the public as an obvious visual marker of Catholic identity. This study therefore investigates how the Eucharist was popularised in the Catholic duchy between 1550 and 1750, focusing on three major themes: pilgrimages, confraternities, and the Corpus Christi procession. This study does not, however, approach the renewal of Catholicism in terms of a top-down process implemented by the Wittelsbach dukes as a method of stately power and control. Rather than arguing in favour of a state-sponsored piety imposed from above, this work explores the formation of Catholic confessional identity as a two-way-process of binding together elite and popular piety, and emphasizes the active role of the populace in constituting this identity. This is why this investigation draws primarily on research from local archives, using a rich body of both textual and visual evidence. Focusing especially on the visual aspects of Catholic piety, this project works towards an interdisciplinary approach in order to understand the ways in which Eucharistic devotion outside Mass was presented to and received by local communities within particular visual environments.

Mehr als 50.000 Besucher kamen 2014 zum Deutschen Katholikentag in Regensburg. Die Großveranstaltung ist dabei nicht nur eine religiöse Veranstaltung für Katholiken, sie hat auch einen starken gesellschaftspolitischen Bezug und ist offen für Andersgläubige und Nichtgläubige. Vor diesem Hintergrund stellt sich die Frage, was dessen Attraktivität ausmacht. Welche sozialen Gruppen zieht der Katholikentag an? Aus welchen Gründen besuchen die Teilnehmerinnen und Teilnehmer ihn? Sind die Besucher religiös, eher politisch motiviert oder beides? Ist der Katholikentag insbesondere für junge und vielleicht gar nicht so besonders religiöse Menschen ein Spaßevent? Verliert der Katholikentag deshalb seinen traditionellen Charakter? Auf Grundlage einer religionssoziologischen Befragung zum 99. Deutschen Katholikentag in Regensburg werden Aussagen über die Besuchsmotive, die Wünsche bezüglich der Ausgestaltung des Katholikentags, die religiöse Praxis seiner Teilnehmer, deren freiwilliges kirchliches und außerkirchliches Engagement sowie über die soziale Herkunft der Besucher gemacht. Damit liegt ein einmaliges empirisches Material vor, welches die Debatten um religiöse Pluralisierung, Säkularisierung und Individualisierung anreichert.

In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.

This project shows how Jonson and Shakespeare represent dissatisfactions with filiation and paternity as discontents with other early modern discourses of cultural reproduction, and vice versa. Chapters on six plays analyze the father-child tie as it articulates sensitivities and hopes in remote arenas, from usury law to mourning rites, humanism to Judaism, witchcraft to visions of heaven. In every play, the father is disembodied. He is dead, invisible, physically separated from his child, or represented in consistently incorporeal terms. In its very formlessness, the vision of paternity as abstraction is what makes it such a flexible metaphor for Renaissance attitudes to so many different forms of cultural cohesion and replication. The Shakespeare plays treat the somatic gulf with ambivalence. For Shakespeare, who ultimately rejects a world beyond the impermanent material one, incorporeality is both the father's prestige and his punishment. But for Jonson, the desomatization more often indicates paternal privilege. Jonson wants filiation and fathering to counteract the progression of history, and since time destroys the concrete, abstraction and disembodiment are necessary for the process to work. His plays initially envision a paternally imagined rule of law achieving permanence for those under it. But Volpone undermines Every man in his humour's fantasy of law, and The staple of news dismantles it still more. Ultimately, in Staple's schematically represented father and son, a pair whose reunion allows them a courtroom triumph, Jonson resorts to an abstractly figured paternity itself to justify other abstractions, legal and literary. As with law in Jonson, so for religion and the supernatural in Shakespeare. Shakespeare's body of work eventually renounces the religious faith whose representation it interweaves with portraits of children and fathers. It does so first in Merchant's intimidating Judaism and hypocritical Christianity, then in Twelfth night's more subtly referenced Catholicism, mournful and aestheticized, and finally in The tempest's various abjurations. Monotheism vanishes altogether in the last play, replaced by a dead witch and multiple spirits and deities who do the bidding of a conjuror who plans to give them up. Both playwrights ultimately reduce their investment in other forms of cultural transmission in favor of more intimate parent-child structures, embodied or not. / text

This thesis illuminates meaning(s) of religion in a Swedish radical nationalist context. The empirical study is based on a critical text analysis of author Jonas De Geer, key ideology producer of Swedish radical nationalism. The research questions concern how the publications of Jonas De Geer, during the period 1996-2016, address issues related to religion and Christian imagery. The primary aim of the thesis – to study how the concept of religion is understood, negotiated and used in a Swedish radical nationalist context – is enunciated through an examination of how identity and antagonists are construed through the notions of religion in the material, and how these concepts change over time. An applied text analysis, informed by critical discourse analysis and corpus linguistics, constitutes the methodological framework of the study. The empirical analysis suggests that Christianity and national identity are construed as intertwined and natural, while Judaism is portrayed as the primary antagonist. Additionally, Islam and modernist ideals are depicted as weapons used by Jewish influence to dominate the West. Drawing on these empirical implications, the study concludes that religion functions as a racist configuration in De Geer's symbolic universe.

This thesis presents an inquiry into personality development, that is, it advances a theory of personality formation based on the symbiotic relationship between mother and child. It will show indications from the research of Rappoport, Ottinger and Simmons, and the writings of Mahler, that in the relationship between the infant and its mother, the infant at first thinks that the mother is an actual part of its own wholeness. Therefore, the theory will attempt to explain how a normal, a neurotic or a psychotic personality structure of later years can be traced back to the symbiotic phase of the infant's development. The symbiotic phase is considered by Mahler to terminate about thirty-six months after birth, but this theory will stress that the critical stage in personality development is reached somewhere before the first year of life is complete.

In recent years a number of important studies have emerged that focus on the lives of the human agents who operated in the early-modern book trade. This marks a scholarly shift away from the technologies of book production towards the figures who operated, profited from, and helped to shape, print technologies and their related products. In this critical movement the identities of printers, publishers, and booksellers have come to matter, both in terms of our understanding of what constitutes ‘print culture,’ and in efforts to narrativise the history of the book. However, although scholars have become increasingly familiar with a critical vocabulary that links early-modern print with textual transience, and the archive with paradigms associated with absence, disputation, and authenticity, biographies related to the lives of book-trade professionals have tended to privilege the representational stability of the documentary evidence we use to reconstruct past lives. This thesis aims to address this critical vacuum by analysing the life and career of one highly controversial, although critically neglected, 17th-century printer, Henry Hills (c. 1625-1688/9). By drawing together methodologies associated with bibliography, the history of the book, and the study of literatures, the thesis seeks to self-reflexively respond to the absences, doublings, missing or fabricated texts, revisions, accretions, and amendments that seem to mark, and have come to shape, the story of Hills’ life. Theories and approaches associated with the materiality of early-modern lives, critical biography, and the archive are used to fully explore the way Hills functioned both in his own time and after as a metonymic figure who has been actively written and rewritten with different historically specific agendas in mind. Ideas of elusiveness, how his contemporaries struggled to represent Hills, and the problem of locating him in the documentary evidence, are also investigated. In the process this thesis casts new light not only on Hills but on the 17th-century printing trade and the printer as a cultural emblem, 17th-century history and culture, and the way we research lives in the early modern period. Each of the chapters of this thesis discusses archival sources that critical biography and bibliography have traditionally looked to for biographical details of Hills’ life. These include a Particular Baptist confession-cum-conversion account entitled The Prodigal Returned, said to have been composed by Hills in 1651 while he served a prison sentence in the Fleet for adultery. I also discuss three accounts of Hills’ high-profile conversion to Catholicism in the mid-1680s, which were authored between 1684 and 1733. The thesis provides a detailed analysis of a conspiracy story, first published in 1697, which posthumously cast Hills as a key player in a bibliographical scandal that is said to have taken place in 1649. I also pay close attention to Hills’ last will and testament, a document that spawned a number of very public legal contestations amongst members of the Hills family. Through a close, historicised reading of these materials, this thesis adds new discussions of the way in which Hills was read and contested by his contemporaries, later historians, and bibliographers, and throughout I retain a sense of the highly mediated nature of the evidence we use to reconstruct Hills biographically, while stressing his importance in the cultural imagination of the period.