The Kitāb al-Aghānī (the Book of Songs) is one of the most important sources for Arabic literature and history. While its compiler, Abū al-Faraj al-Iṣfahānī (died after 356/967), is generally viewed as a “Zaydī Shīʿī”, no study has engaged in depth with the manifestation of his sectarian perspective in the Aghānī. This thesis addresses the question of whether al-Iṣfahānī’s sectarian perspective can be discerned in the Aghānī via literary analysis based primarily upon redaction criticism. By examining the compiler’s interventions (which took place by means of selecting, repeating, and juxtaposing source material, as well as by his comments and editorial remarks), this thesis argues that al-Iṣfahānī indeed presents past people and events central to the Shīʿī worldview in accordance with his sectarian affiliation. Furthermore, this thesis questions the label “Zaydī” that has been attached to al-Iṣfahānī. Based on textual analyses of the Aghānī, as well as evidence from his Maqātil al-Ṭālibīyīn (“The Ṭālibid Martyrs”) and other evidence for the tenth-century context, this thesis suggests that al-Iṣfahānī’s religious thought can be construed as a “mild” form of Shīʿism ― in the sense that it does not entail belief in a specific lineage of imams and repudiation of most of the Companions including the first three caliphs ― but cannot necessarily be identified with any sect, as set down in the heresiography. It is also suggested that this kind of Shīʿism may have been promoted by al-Iṣfahānī’s patron, the Būyid vizier, Abū Muḥammad al-Muhallabī (291–352/903–963) in the complex sectarian context of mid-tenth century Iraq. This thesis comprises seven chapters. Chapters One and Two introduce the life of the compiler, the wider historical context, the Aghānī, its textual problems, and its overarching structure. These two chapters lead to three conclusions: first, the Aghānī, in all likelihood, was dedicated to Abū Muḥammad al-Muhallabī; second, the view that al-Iṣfahānī was a Zaydī is untenable; third, it is very likely that the Aghānī retains its original form (as designed by al-Iṣfahānī). Chapter Three investigates the sources used by al-Iṣfahānī in the Aghānī with regard to their transmission in order to establish that the published text can indeed be subjected to redaction criticism for the purpose of better understanding the compiler’s agenda (or agendas). Chapters Four and Five present the results of the literary analysis of the Aghānī, which demonstrate the articulation of a Shīʿī past in the Aghānī, as well as highlighting the limits of redaction criticism and al-Iṣfahānī’s other editorial concerns. Building upon Chapter Five, which concludes that the Aghānī reflects al-Iṣfahānī’s sectarian vision, Chapter Six characterizes al-Iṣfahānī’s Shīʿī beliefs by examining his treatment of Ghulāt, Imāmīs, Sunnīs, ʿAlids, and the Companions, including the first three caliphs. Chapter Seven puts the results of the analyses into their historical context, specifically in light of the career of his patron, al-Muhallabī. The Conclusion outlines the key findings of this thesis, with remarks on potential avenues for future research.

Made available in DSpace on 2016-04-26T14:54:44Z (GMT). No. of bitstreams: 1 Jeferson Santos da Silva.pdf: 705350 bytes, checksum: 38b892c296fec9e3901225c1c9648721 (MD5) Previous issue date: 2014-04-28 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The reference to the past when the Alagoa s old elites talks about black people is a fact for anyone interested in black people history in such place. Although such reference be present at the most of publications that discussed on blacks, it will be in the folklore studies that such prospective will find it place. Despite of evolution on black studies and it s culture it going from your complete depreciation to your acknowledge and valorization , what we had in fact didn t represent a significant change in the elite s broach about that issue. Such way of broach represented the final stab on the black people existence on that region (north-east), because, if is true that black people is not inferior anymore, it s also true that blacks are not between us, because they are part of our past now / A referência ao passado ao se falar do negro, por parte da classe letrada de Alagoas, é um fato facilmente constatado aos que minimamente se propõem a adentrar num meio de polígrafos que se aventuraram a relatar a vida daquele o negro em ensaios e escritos outros. Apesar de tal referência estar presente na quase totalidade da produção bibliográfica que por alguma razão abordou o negro no estado, a verdade é que a mesma terá nos estudos de folclore seu lugar privilegiado. Apesar da reviravolta nos estudos do negro e sua cultura os mesmos indo da sua depreciação completa ao seu reconhecimento e valorização , o que tivemos de fato não representou verdadeiramente uma guinada na abordagem daquele segmento pela elite nordestina, senão o golpe final de morte da presença do negro na região pois, se é bem verdade que o negro não é mais inferior, também o é que ele não está mais entre nós, assim como quiseram as pessoas de letras do estado de Alagoas, e porque não dizer de todo o nordeste

Este trabalho almeja identificar a maneira pela qual o historiador romano Tito Lívio estruturou a narrativa do terceiro de seus Ab urbe condita libri, tendo em mente a dicotomia entre a moderação e a imoderação enquanto fio condutor das ações individuais e dos eventos abarcados nesta parte da obra liviana. Analisar-se-ão, portanto, os episódios basilares do livro III considerando-se a intersecção estabelecida pelo autor entre virtudes, personalidade e poder em seu relato, articulando-a às concepções historiográficas e à tradição histórica observada por Tito Lívio no exercício de seu ofício, assim como ao contexto em que floresceu a própria composição. / This work aims to identify by which way the Roman historian Livy has structured the narrative of the third of his Ab urbe condita libri, bearing in mind the dichotomy between moderation and the lack of it as a guiding link of the individual actions and events comprised in this portion of the livian work. It will be analized, then, the basic episodes of book III considering the intersection established by the author amongst virtues, personality and power into his report, articulating it to historiographical conceptions and to historical tradition observed by Livy in the practice of his task, as well as to the context in which the composition itself flowered.

Esta tese pretende localizar as ideias presentes na produção intelectual letrada do Renascimento português a partir do vocabulário conceitual de João de Barros, autor das Décadas da Ásia. Em vista de uma tradição que assinala o compromisso de João de Barros com a vida cívica em Portugal, a localização destas ideias atentou para as convenções intelectuais acionadas na regulamentação da honra e da dignidade deste personagem como elementos estruturantes para a credibilidade de seus escritos. Sem perder de vista a estreita relação entre as letras e o poder, a obra de João de Barros é compreendida como veículo para o debate público de ideias e, por isso, no enfoque dado às Décadas, ganha relevância o fato de se tratar de um gênero epidítico, em que a memória se configura como instrumento pedagógico. Assim, o vocabulário conceitual disponível à mentalidade renascentista portuguesa apresenta-se atrelado às vicissitudes da expansão marítima e à promoção do bem público em um ambiente heterogêneo e descontínuo, marcado pela presença da diversidade cultural. Em suma, a questão, aqui, reside no papel que este vocabulário desempenha na formulação de um ambiente culturalmente homogêneo em vista da evidente necessidade política de manter a unidade do reino. / This thesis aims to find the most important concepts in the work of João de Barros, the Portuguese Renaissance author who wrote the Décadas da Ásia. To this end, we look at a tradition that considers Barros as a man dedicated to civic life in Portugal. The work of João de Barros is understood as a vehicle for public debate of ideas, and the Décadas da Ásia, his book of history, as a pedagogical tool. The most important concepts are linked to the history of maritime expansion and the presence of cultural diversity. The question of this thesis is the role of these concepts in the reduction of cultural differences and the union of the Portuguese kingdom.

A partir do exame de jornais publicados entre 1890 e 1909, o trabalho pretende discutir a Questão do Acre, isto é, o processo de anexação do território ao Brasil, tendo por foco o Bolivian Syndicate. O contrato de arrendamento dessas terras a grupo de investidores internacionais estimulou a produção de vários textos jornalísticos, cuja leitura permite esclarecer qual era a posição do governo federal acerca da região boliviana então ocupada por brasileiros, caracterizar a fronteira entre as duas nações e reconhecer as matrizes das versões que a historiografia acriana incorporou a propósito do tema. / From examination of newspapers published between 1890 and 1909, the work has use to a discussion about the Question of Acre, that is the process of annexation of the territory in the Brazil, having as theme the Bolivian Syndicate. The contract to lease of these lands at the international investor group stimulated the production of several journalistic texts, whose reading allows to specify what was the position of the federal Government on the Bolivian region, then occupied by Brazilians, characterizing the borders between the two Nations and recognize what versions the historiography of the Acre has taken on the theme.

Nesta dissertação pretendemos realizar um estudo comparativo entre Eric Hobsbawm e François Furet, dois importantes historiadores do século XX, com trajetórias intelectuais opostas que, no entanto, convergiram para a interpretação das relações entre história, política e revolução. Tomamos como fonte documental seus trabalhos historiográficos, com o intuito de refletir sobre a relação entre o pensamento histórico e o pensamento político. Assim, situando o problema da relação entre o intelectual e a política, buscamos, por meio da análise historiográfica e do exercício sistemático de comparação e confrontação, abordar os participantes do debate historiográfico/político como atores históricos, visto que atuando em uma diversidade de culturas políticas e tradições de pensamento. / Our goal in this dissertation is to compare the works of two twentieth century historians - Eric Hobsbawm and François Furet - analysing their different intellectual trajectories and their interpretation of the relationship between history, politics and revolution. The documentary source used in this study consists mainly of their historiographical works. In this way, by an historiographical analysis and by a systematic comparation and confrontation of their works, we have approached the debate that results from the different and contrasting political culture and ideological thought present in both as historical actors.

The popular image of Richard III remains, even today, deeply indebted to Shakespeare's portrayal; however, the century following the publication of Shakespeare's play in 1597 witnessed a fresh and vibrant re-evaluation of this character in a diverse range of texts from poems and history works to pamphlets. While many authors still perpetuated the negative Tudor image, original writings challenged this ingrained view and resulted in a more nuanced assessment of Richard III than the one pervading the sixteenth century. The present thesis investigates a range of seventeenth-century texts about Richard III which shed new light on the reception of Shakespeare's play, bring unique testimony to the contemporary understanding of tyranny, and capture specific social and political anxieties of the period: the end of the Tudor dynasty, the conflict between the Crown and Parliament culminating in the Civil Wars, and the execution of Charles I. These texts offer a fuller picture of the contemporary literary-political climate, while illuminating the role of historical memory in forming national consciousness, including the forging and dismantling of myths. The thesis analyses seventeenth-century responses to Richard III in historiography, legal and constitutional debates, poetry, plays, and the visual arts. The first two chapters demonstrate that historians and legal theorists during the Stuart reign and the Civil Wars proved unexpected advocates of Richard III. Challenging the traditional narrative of Tudor chronicles, they reappraised Richard's election by parliament and his moderate taxation policies and contrasted them with the controversial high-taxation programmes of the Stuarts. The third chapter offers a re-evaluation of Richard's portraits which betray hitherto unnoticed marks of ageism as a symbol of governmental inadequacy. The chapter explores visual art as a distinct incarnation of historical commentary. Chapter four examines the depictions of Richard's conscience in poems by Richard Niccols and Christopher Brooke. The final two chapters analyse two extensive poems on Richard III. John Beaumont's 'Bosworth Field' (1629) offers an original account of the battle and Richard III as a study of patriotism and leadership. Thomas Wincoll's Plantagenets Tragicall Story (1649) transforms Richard III into a vehicle of anti-Cromwellian political allegory in the time of the regicide. By reconstructing the life of Wincoll, a royalist poet from a puritan family, the chapter outlines the contradictory nexus of convictions which underlie Civil War literature. Overall, my thesis argues that Richard III evolved from the plainly negative tyrant of Tudor chronicles to a more complex figure, resulting in a more original and balanced portrayal of his character in the seventeenth century.

This thesis demonstrates the previously unacknowledged contribution made by early screenwriting teachers to the development of the Hollywood film industry from 1910 to 1922. Through a study of five key screenwriting teachers from the period, it shows the significant role played by such figures in the translation of playwriting theory and theatrical tradition into writing for film. Drawing on an extensive range of primary materials, including manuals and columns written for the fan and trade press, it demonstrates the role played by such teachers in the formation and codification of a set of writing techniques specific to the film medium. In doing so, this thesis fills an important gap in the historiography of screenwriting in Hollywood, giving due credit to a body of work that has previously received only passing consideration, and highlighting the role of early screenwriting teachers, which has previously been understated if not ignored. The thesis also examines some aspects of their legacy in the context of the role and function of contemporary screening gurus.

Esta dissertação pretende analisar a Guerra do Paraguai (1864-1870) como um problema da literatura brasileira, investigando a incorporação dos fatos históricos como objeto literário, a adequação aos gêneros e a construção de um posicionamento sobre a guerra por meio das obras. Para tanto, estuda-se a construção do heroísmo pelos poetas épicos e condoreiros, partindo-se das primeiras publicações sobre o tema nos jornais da época e das epopeias Riachuelo, de Pereira da Silva, e Glorias Brasileiras, de Antonio de Castro Mendonça Furtado, até a apropriação do tema da guerra pelos poetas do condoreirismo. Em seguida, investiga-se a crítica feita ao conflito por meio da literatura satírica publicada pela imprensa ilustrada do período, analisando as contribuições e limitações de seu ponto de vista. Finalmente, trataremos da assimilação do tema pela prosa ficcional de Joaquim Manuel de Macedo, Alfredo dEscragnolle Taunay e Machado de Assis / This dissertation sets out to analyze the War of the Triple Alliance (1864-1870) as an issue of Brazilian literature, investigating the incorporation of historical facts as literary objects, the adjustment of styles and the construction of a position on the war through the oeuvres. To this end, the building of heroism by the epic and condordorist poets is studied, from the starting point of the first publications on the theme in the newspapers of the day and the Riachuelo, by Pererira da Silva, and Glorias Brasileiras (Brazilian Glories), by Antonio de Castro Mendonça Furtado, epopees, up to the appropriation of the war theme by the poets of condorism. Thereafter, there is investigation of the criticism of the conflict through the the satirical literature published by the illustrated press of the period, analyzing the contributions and limitations of their point of view. Finally, we will deal with the assimilation of the theme by the fictional prose of Joaquim Manuel de Macedo, Alfredo d\'Escragnolle Taunay and Machado de Assis

A crítica da cidade colonial foi um dos principais temas nas discussões e justificativas para as reformas e melhoramentos por que passaram muitas cidades na virada para o século XX. Desde aquelas mais importantes administrativa e economicamente nos três primeiros séculos de colonização, como o Rio de Janeiro, Salvador e Recife, até as que pouca relevância tinham na incipiente rede urbana do período colonial, como Natal, a crítica repetiu-se, homogeneamente à primeira vista, nas várias cidades em transformação, independente das particularidades das várias estruturas urbanas e da maior ou menor irregularidade dos seus traçados. Para além da questão sobre a existência ou não de planejamento por parte do colonizador português, esta tese discute como se formaram as representações sobre a cidade colonial no Brasil. Nas trilhas dessa imagem construída amiúde em negativo, aborda-se: a leitura empreendida pelos viajantes estrangeiros no início do século XIX, com ênfase no livro de Henry Koster, Travels in Brazil (1816); a problematização e instrumentalização do tema em meio às formulações higienista e sanitarista sobre a necessidade de reformar e modernizar o espaço urbano ao longo do século XIX; da mesma maneira, no processo de formação do campo disciplinar do urbanismo no Brasil na virada para o século XX; e, a apropriação do tema na constituição da historiografia sobre a arquitetura brasileira. Por fim, tecem-se algumas considerações sobre o texto que seria tomado como o momento fundante dessa representação: o capítulo \"O semeador e o ladrilhador\", de Raízes do Brasil (1936), de Sérgio Buarque de Holanda. / The critique of the colonial city was one of the most usual themes on the discussion and justification of reforms and improvement plans targeted at several Brazilian cities in the turn to the twentieth century. The critique was reiterated in a virtually homogeneous fashion all over Brazil, regardless of the specific urban characteristics in each settlement, whether it was being applied to cities that concentrated great administrative and economic importance during the colonial times, such as Rio de Janeiro, Salvador and Recife, or to those that carried little relevance in the colony\'s fledgling urban network, such as Natal. Beyond the issue of whether the Portuguese colonizers were \"planning\" settlements, this thesis discusses how representations on Brazilian colonial cities came to be. As the development of this generally negative image is tracked down, this work explores the images of Brazilian cities forged by foreigner travelers, focusing on Travels in Brazil (1816), by Henry Koster; the theme\'s problematization by physicians and sanitary and polytechnic engineers, for whom the theme of colonial city was instrumental to demand for the urban reforms and modernization they sought over the nineteenth century; the appropriation of this theme during the process of formation of urbanism as a discipline; and in the many texts and books that delineated modern historiography on Brazilian architecture. Finally, some considerations are made on the text that could be considered the foundation for these representations: Sérgio Buarque de Holanda\'s \"O semeador e o ladrilhador\", a chapter from his 1936 work, \"Raízes do Brasil\".