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Critics frequently, sometimes irresponsibly, label Spenser's poetry "emblematic" because of the appearance of either striking allegorical figures or moral assertions. This thesis establishes a standard for the application of the term "emblematic": first, by defining those elements which characterize emblems; second, by examining the emblem's cultural milieu; and third, by analyzing the "emblem patterns" that appear in The Faerie Queene. The study concludes that these "emblem patterns" transform the two essential elements of emblems to a literary treatment: the emblem engraving takes the form of a poetic description of allegorical figures or scenes; the didactic poem is condensed to an explicit moral statement. These "emblem patterns," then, can be regarded as reasonable criteria for labelling Spenser's poem "emblematic."

Ce mémoire a pour sujet les œuvres réalisées à la fin du XVIIIe et au début du XIXe siècle par Johann Heinrich Füssli, inspirées de l'œuvre littéraire The Faerie Queene (1590-1596), du poète anglais Edmund Spenser. Au nombre de quinze, ces œuvres sont abordées en tant que corpus au sein de l'œuvre de Füssli. L'objectif du mémoire est d'étudier et de documenter, au moyen d'un catalogue raisonné, ces œuvres à sujets spensérien. Une étude stylistique et iconographique qui tient compte des stratégies formelles utilisées pour réaliser ces œuvres, mise en lien avec le contexte culturel, permet de les replacer dans l'ensemble de l'œuvre de Füssli et de la tradition théorique et esthétique à laquelle il est redevable. Le choix de Spenser comme thématique à illustrer, ainsi que le rapport entre les images et le texte, y sont également abordés en mettant l'accent sur la représentation discordante des genres sexuels chez le poète et le peintre. Cette discordance donne lieu à l'hypothèse défendue dans ce mémoire selon laquelle les œuvres de Füssli, ayant pour sujets The Faerie Queene d'Edmund Spenser, sont des œuvres à sujets littéraires pour lesquelles l'artiste fait preuve d'invention et dans lesquelles il exprime ses sentiments face au monde où il vit. Il ne s'agit donc pas d'illustrations, puisque ce terme sous-tend la possibilité d'un respect strict au texte. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Johann Heinrich Füssli (1741-1825), The Faerie Queene, Edmund Spenser, ut pictura poesis, œuvre à sujet littéraire, illustration, invention, sublime, gothic, études genrées.

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From introduction: In the sixth book of The Faerie Qveene, the reader is presented with a vision of the Graces and their attendants dancing on Mount Acidale to the piping of a simple shepherd. Spenser identifies this favoured musician as Colin Clout and then goes on to pose a seemingly inconsequential rhetorical question. "Who knowes not Colin Cloute?” he asks. The note of confident pride which can be discerned in the query clearly reveals Spenser's peculiar interest in one of his most intriguing creations. It is almost impossible to read a representative selection of Spenser's poetical works without noticing the hauntingly frequent appearances of his "Southerne shepheardes boye". Colin appears or is named in no fewer than six of Spenser's poems.

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This study explores how romance opens the texts of two sixteenth-century authors. The first is the autobiography, Libro de la vida, of Spanish nun, mystic, and reformer, Santa Teresa de Jésus. Amidst the narrative of her life and her instructions on how to better live the mystical life, Teresa uses the mode of romance to construct herself and God in complicated and often conflicting roles: she the wandering (sinning) knight-errant who quests towards the ideal lady, Christ; she the walled garden into which her lover enters for fleeting moments of bliss; she the passive feminine recipient of God's forceful loves; she her own black knight, her own dark forest, through which she must fight to reach the throne of the Beloved. Reading Teresa in this light underscores the ways in which she deconstructs the sublimating, transcending, and bodiless love historically directed towards the God of the Western tradition to reveal a love fraught with mutability and painful separation. As God absents himself from her, mourning assails her and causes her to wish for death, the only bower that promises perfect proximity. In this conflicted realm of mortality in which she longs for death but must continue to live, Teresa moves past her desire into a space for faith. In the second text, Edmund Spenser's The Faerie Queene, Spenser uses the capaciousness of the romance genre to express his desires for certain political, economical, and spiritual ends by constructing the Faerie Queene as a representative of Elizabeth I who in turn represents the potential for the realization of these hoped for ideals. The study focuses on one particular interchange between the Faerie Queene and the culturally-loaded icon of Arthur, and how Spenser imbues this moment with ambiguity, both posturing Arthur as the Queene's lover and her progenitor. The magical space of romance thus allows Spenser to simultaneously criticize, encourage, and praise Elizabeth, despite the inevitability that she will disappoint him. Despite disappointment, Spenser continues to strive for the temporal perfection of England, which ultimately leads him to an unyielding hope for the perfection of the immutable kingdom of heaven.

本文旨在闡明史賓塞如何架構出一則阿諦構和布烈特瑪間的完美愛情故事並鼓勵那些活在真實世界中的讀者跟隨這對戀人的腳蹤。本文首先介紹基督教中的愛論如何建基於神人之間完美的愛，並介紹史賓塞如何以神聖之愛為典範，寫出一對完美的愛人。藉此典範,史賓塞拆毀了兩座巨牆:他不但使人可以有完美的愛情，也使他的人物同時具有寓言和寫實兩大特性.此外、本文亦說明基督教愛論和其實現間的環狀關係如和使史賓塞的愛情故事和基督教的愛論亦產生環狀關係。第二、本文細探阿諦構和布烈特瑪間關係的發展、將之分為三個階段:為愛人、為夫妻、為朋友。在這三階段中、此愛情故事皆和基督教的愛論有環狀關係:此故事反映了神聖之愛的光華、釋明了神聖之愛的迷團、並藉著神聖之愛的特異處將此愛情故事中似乎不完美處解釋為完美。藉著探討史賓塞的愛情故事和基督教愛論彼此間的環狀關係、本文終能釐清史賓塞如何促使讀者基督教中認為人可以行出的貞潔。本文最後呈現史賓塞的環狀辯論如何鼓勵讀者不僅閱讀阿諦構和布烈特瑪的經驗、並能親身嘗試實行這對愛人的信念。 / This thesis aims at explaining how Spenser builds his love story of Artegall and Britomart as a perfect love model for all his readers in the real world to follow. The thesis first introduces how the Christian theory of love is modeled on the perfect love relation between God and human beings and how Spenser emulates that divine model and creates a pair of perfect human lovers. By his emulation of the divine model, he not only breaks down the middle wall between the perfect and the human, but also shapes his characters as both allegorical and realistic. Besides, the thesis also explains how the circular relationship between the Christian theory of love and its practice renders Spenser's artistic love model to have a circular relatioinship with theChristian love theory, too. Second, the argument of the thesis follows closely the development of Artegall and Britomart's relationship and divides it into three phases: their relationship as lovers, as husband and wife, as friends. In all the three phases, the love story has a circular relationship with the Christian theory oflove. It reflects the glory of a divine love model, explains the mystery of Christian love, and is justified of its seeming defects by the harshness andother-worldliness of the divine love. By laying bare of the circularrelationship between Spenser's love story and the Christian theory of love, the thesis finally comes to unravel Spenser's art of inviting the readers toperform chastity that human beings in Christian theory is supposed perform. Thethesis concludes by showing how the circular argument encourages the readers to join in Artegall and Britomart's experience and to practice their belief about love rather than simply to read it.

���In this thesis, I use modern concepts of feminism, gender performativity, and psychoanalysis as a means to understand female characters and authors of Renaissance England in a new way. In my first article, I analyze various texts and performances of Queen Elizabeth I, as well as texts of Renaissance female authors who are now slowly entering our modern canon ��� notably, Aemilia Lanyer. The second article is a feminist investigation of Britomart from Spenser's The Faerie Queene. In both pieces, I argue that these women (historical and fictional) broaden the definition of queer, and ultimately of feminism, as a whole. The goal of this thesis is to utilize published and visual records of early modern women writers and fictional characters, and apply a theoretical lens to such texts, in order to analyze these texts in a multi-faceted, contemporary fashion and to establish new modes of thought within the discourse of gender performativity, feminisms and psychoanalytical theory. / Graduation date: 2013

This dissertation argues that in Renaissance discourses of the body the body is progressively evacuated of the spirit, as we move from texts of the late Medieval period to texts of the Jacobean period. Where New Historicists have suggested that the practice of “self-fashioning,” which dictates behaviour, speech and dress, takes place in the Renaissance, I argue that there was a material self-fashioning of the body occurring simultaneously. Such corporeal fashioning, motivated by desire for physical improvement, frustrates the extent to which the soul shapes the body. My Introduction lays theoretical and historical groundwork, situating the body/soul relationship in relation to Christian theology, Senecan-Stoicism, Epicureanism and philosophical materialism. Discourses of artistic creation, informed by neo-Platonism, also influence corporeal fashioning in that the most radical bodily modifications are imagined through literature, where artificers are often privileged as creators. Chapter One examines “The Miracle of the Black Leg,” a transplant, by the doctor-Saints Cosmas and Damian, of a Moor’s black leg to a white Sacristan, whose gangrenous leg is amputated. In written and pictorial representations Cosmas and Damian, initially figured as Saints, are later presented as doctors who perform a medical procedure. Alongside the doctors’ increasing agency, the black leg itself, inflected by Renaissance notions of Moors and Moorishness, troubles the soul’s immanence in the body. Chapter Two examines Elizabeth I’s practices of bodily fashioning through her wigs, dentures and cosmetics. I argue that Elizabeth’s symbolic value, which includes components of monarchical rule, as well as attitudes toward female beauty, is always already pre-empted by her body. In Book III of The Faerie Queene, moreover, Edmund Spenser writes an alternative history of England through Britomart’s body to provide an heir to Elizabeth’s otherwise heirless throne. Chapters Three and Four perform close readings of Book II of The Faerie Queene, Thomas Tomkis’s Lingua, Thomas Middleton’s The Maiden’s Tragedy and Revenger’s Tragedy, and John Webster’s The Duchess of Malfi. I argue that both the allegorical and theatrical modes demand a level of materialism that paradoxically makes the body the centre of attention, and anticipates Cartesian mechanistic dualism. / Thesis (Ph.D, English) -- Queen's University, 2008-09-25 22:59:31.67