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The Imitatio Christi by Thomas à Kempis (1380-1471) was among the most successful texts of the fifteenth and sixteenth centuries. Over eight hundred manuscripts survive from that period alongside hundreds of printed editions. Its popularity transcended language, nation, religious vocation and ultimately confession. Hitherto, most monographs on the Imitatio have debated the question of its authorship. This thesis joins the growing body of work that examines the features that made this text so attractive. Continuously reshaped by readers and editors, the Imitatio tradition encompasses a corpus of texts with often vastly divergent meanings. This variety emerged, in part, as a result of the text itself, which encouraged its own fragmentation, and in part from the mimetic reading habits that prevailed throughout the period of this study. This thesis takes a longue-durée perspective, situating different versions of the Imitatio within the broader tradition and considering their relationships with one another. It is argued that the Imitatio's success was owed not to the establishment of a characteristic meaning but to a characteristic tradition of use. The text became a source for mimetic, compunctious prayer. The popularity of the Imitatio among sixteenth-century reformers shows the continuing popularity of the rhetorical characteristics of compunctious devotions. This thesis contends that, through the Imitatio, traditional religious practices continued to be important for English reformers. The text provided a focus for developing Protestant identities. For early evangelicals, its traditional formulations helped them conceal their heterodoxy, while its themes of intense devotion to the Holy Spirit allowed them to tacitly engage with reformist doctrine. For Elizabethan Calvinists, Kempis's text was emblematic of the continuity of the true, Apostolic Church, during the era of Papal supremacy.

This thesis offers a close reading and an analysis of the Vida of Madre María Magdalena Lorravaquio. It is the purpose of this thesis to examine how Lorravaquio expresses agency, authority and power throughout her Vida by means of the rhetoric of imitatio Christi and descriptions of her visions and illnesses. For the aim of this work, agency is interpreted as free-will and consciousness in terms of action; as a result, the author and the work itself, both of which demonstrate agency, exude power and authority. This type of analysis will explore if the Vida genre can be read as quasi-feminist texts.

Thesis advisor: Mary T. Crane / Using the rich concept of <italic>imitatio</italic> as an organizing theme, this study explores the tangibility of faith and a privileging of an affective, embodied religious subjectivity in post-Reformation England. <italic>Moving Imitation</italic> asserts that literary and devotional concepts of <italic>imitatio</italic>--as the Humanist activity of translation and as <italic>imitatio Christi</italic>--were intensely interested in semiotics. Indeed, if the Renaissance was a period in which literary imitatio flourished, advancements in translation theory were not unaccompanied by anxieties--in this case, anxieties about the stability of language itself. Likewise, as iconophilia turned into iconophobia, a similar anxiety about the reliability of signs also characterized the turmoil of the English Reformation. <italic>Moving Imitation</italic> examines the overlapping qualities of both types of imitatio in order to point out how an important devotional aesthetic in the period involves a type of embodied imitation. The human body's resonance with the humanity of Christ and the pre-Cartesian worldview that saw the human body as fully engaged with what we consider to be more cognitive functions contributed to a privileging of the body as an acceptable sign of true devotion. Beginning with Sir Thomas Wyatt's paraphrase of the traditional penitential psalms, <italic>Moving Imitation</italic> explores the translation of penitence in Wyatt's work, and argues that a focus on David's outward gestures and body lends a firmness to a work that is otherwise anxious about the mutable nature of human words. Chapter two examines the suffering bodies in John Foxe's <italic>Acts and Monuments</italic> and their enactment of a visible imitatio Christi. Terms such as "members" function in its corporeal and communal senses in <italic>Acts and Monuments</italic>, for the marks of one's membership in the "true church" are born, literally, on one's members. Although much of Foxe's argumentation includes polemical disputes that seek to shut out a copia of meanings to the words, "This is my body," Foxe as an editor exploits the polysemous nature of the body in its corporeal and communal sensibilities. The performative aspects of martyrdom pave the way to a discussion of what I call transformative imitatio in William Shakespeare's <italic>Hamlet</italic> and <italic>The Winter's Tale</italic>. Although the theater's ability to "body forth" its fiction is a source of anxiety for antitheatricalists, proponents of the stage saw it as a way to defend the theater. <italic>Moving Imitation</italic> notes that the characterization of the stage's dangers--the ability to move people's affections--articulates an important Reformist desire: that the individual subject should not only be affected, but also be galvanized into devotional imitation. Such interest in action becomes important in <italic>Hamlet</italic>; if the central dilemma of the play (Hamlet's inability to take action) is considered against a common religious dilemma (how one stirs oneself towards genuine worship) the solutions as well as the problems overlap. Through the statue scene of <italic>The Winter's Tale</italic>, Shakespeare defuses the danger attributed to the stage by animating a potentially idolatrous image with life; in ways that were only hinted at in <italic>Hamlet</italic>, <italic>The Winter's Tale</italic> makes use of the lively bodies onstage to suggest that the presumed connection between idolatry and the imitative stage is an unwarranted one, and "to see... life as lively mocked" can help to perform redemption. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

<p>Föreliggande examensarbete behandlar det retorikdidaktiska begreppet imitatio som undervisnings- och lärandemetod. Syftet är att undersöka vad imitatio (efterbildning) kan betyda i didaktisk mening, hur det skiljer sig gentemot det svenska begreppet imitation och hur lärare tillika retorikstudenter förhåller sig till det i sin undervisning och i sin kompetensutveckling. Med utgångspunkt i syftet har två metoder använts; telefonintervjuer med fyra lärare som vidareutbildat sig i den retorikdidaktiska kursen Progymnasmata samt en litterturstudie. Telefonintervjuerna bidrar med ett praktiskt didaktiskt underlag från yrkesverksamma didaktiker, och litteraturstudien ligger till grund för undersökningen av imitatios retoriska ursprung och didaktiska relevans samt imitationsbegreppets olika tvärvetenskapliga innebörder. Resultatet visar att imitatio som retorikdidaktiskt begrepp i betydelsen medveten efterbildning har ett begränsat inflytande i samtida didaktisk forskning, trots dess över tvåtusen år långa historia med omfattande tillämpning. Imitation figurerar dock alltjämt i didaktisk forskning, men som en beskrivning av en omedveten och oreflekterad handling i lärandeprocesser. En central slutsats är att imitatiobegreppet har blivit föremål för en begreppsglidning och fått anmärkningsvärt lite utrymme i didaktisk forskning som en alternativ undervisnings- och lärandemetod.</p>

Föreliggande examensarbete behandlar det retorikdidaktiska begreppet imitatio som undervisnings- och lärandemetod. Syftet är att undersöka vad imitatio (efterbildning) kan betyda i didaktisk mening, hur det skiljer sig gentemot det svenska begreppet imitation och hur lärare tillika retorikstudenter förhåller sig till det i sin undervisning och i sin kompetensutveckling. Med utgångspunkt i syftet har två metoder använts; telefonintervjuer med fyra lärare som vidareutbildat sig i den retorikdidaktiska kursen Progymnasmata samt en litterturstudie. Telefonintervjuerna bidrar med ett praktiskt didaktiskt underlag från yrkesverksamma didaktiker, och litteraturstudien ligger till grund för undersökningen av imitatios retoriska ursprung och didaktiska relevans samt imitationsbegreppets olika tvärvetenskapliga innebörder. Resultatet visar att imitatio som retorikdidaktiskt begrepp i betydelsen medveten efterbildning har ett begränsat inflytande i samtida didaktisk forskning, trots dess över tvåtusen år långa historia med omfattande tillämpning. Imitation figurerar dock alltjämt i didaktisk forskning, men som en beskrivning av en omedveten och oreflekterad handling i lärandeprocesser. En central slutsats är att imitatiobegreppet har blivit föremål för en begreppsglidning och fått anmärkningsvärt lite utrymme i didaktisk forskning som en alternativ undervisnings- och lärandemetod.

Esta dissertação tem como objetivo examinar o método de composição das comédias de Sá de Miranda e a maneira como o autor utilizou o processo de recriação poética denominado imitatio para promover o diálogo intertextual com seus paradigmas. Trata-se aqui de analisar intertextualmente textos gerados dentro de um contexto histórico-literário específico, em que o imitar era a regra. O autor tem como primeira intenção ao compor esse tipo de obra inserir-se numa tradição poética que aceita e pressupõe a alusão a textos precedentes, ou seja, uma tradição poética autônoma, em que as relações intertextuais se dão de maneira consciente e técnica e a obra de imitação resulta da reelaboração criativa de modelos. O primeiro capítulo vem situar a obra cômica mirandina no contexto histórico-cultural em que foi gerada. O segundo capítulo trata de imitatio e intertextualidade, estabelecendo terminologia e métodos para a análise intertextual, especificamente, de obras que têm a apropiação intencional de textos como princípio de criação literária. O terceiro capítulo apresenta um breve histórico do teatro latino, das origens até o surgimento da fabula palliata, adaptação latina da Comédia Nova Grega, que foi o modelo de comédia imitado pelos poetas renascentistas italianos, cujas obras se tornaram também paradigmas para o poeta português. O último capítulo é dedicado à análise intertextual das comédias de Sá de Miranda. / The objective of this dissertation is to examine the method of composition of Sá de Miranda?s comedies and the way the author made use of the poetic recreation process denominated imitatio to promote the intertextual dialogue with their paradigms. It concerns to the intertextual analysis of texts produced within a specific historical and literary context in which imitating was the rule. The author who composes literary works under this rule has as his first intention to get into a poetic tradition which accepts and presupposes the alusion to preceding texts, i. e., an autonomous poetic tradition in which the intertextual relations take place in a conscious and technical manner and the work of imitation results of the creative re-elaboration of the patterns. The first chapter comes to situate Sá de Miranda?s comic work in the historical and cultural context in which it was generated. The second chapter deals with imitatio and intertextuality, establishing terminology and methodology for intertextual analysis of specifically literary works which have the intentional appropriation of texts as literary creation principle. The third chapter presents a brief history of the Roman theater, from its origins up to the arising of the fabula palliata, the Roman adaptation of the Greek New Comedy, which was the model of comedy imitated by the Italian poets of the Renaissance, whose works became paradigms to the Portuguese poet too. The last chapter is dedicated to the intertextual analysis of Sá de Miranda?s Comedy.

Esta dissertação tem como objetivo examinar o método de composição das comédias de Sá de Miranda e a maneira como o autor utilizou o processo de recriação poética denominado imitatio para promover o diálogo intertextual com seus paradigmas. Trata-se aqui de analisar intertextualmente textos gerados dentro de um contexto histórico-literário específico, em que o imitar era a regra. O autor tem como primeira intenção ao compor esse tipo de obra inserir-se numa tradição poética que aceita e pressupõe a alusão a textos precedentes, ou seja, uma tradição poética autônoma, em que as relações intertextuais se dão de maneira consciente e técnica e a obra de imitação resulta da reelaboração criativa de modelos. O primeiro capítulo vem situar a obra cômica mirandina no contexto histórico-cultural em que foi gerada. O segundo capítulo trata de imitatio e intertextualidade, estabelecendo terminologia e métodos para a análise intertextual, especificamente, de obras que têm a apropiação intencional de textos como princípio de criação literária. O terceiro capítulo apresenta um breve histórico do teatro latino, das origens até o surgimento da fabula palliata, adaptação latina da Comédia Nova Grega, que foi o modelo de comédia imitado pelos poetas renascentistas italianos, cujas obras se tornaram também paradigmas para o poeta português. O último capítulo é dedicado à análise intertextual das comédias de Sá de Miranda. / The objective of this dissertation is to examine the method of composition of Sá de Miranda?s comedies and the way the author made use of the poetic recreation process denominated imitatio to promote the intertextual dialogue with their paradigms. It concerns to the intertextual analysis of texts produced within a specific historical and literary context in which imitating was the rule. The author who composes literary works under this rule has as his first intention to get into a poetic tradition which accepts and presupposes the alusion to preceding texts, i. e., an autonomous poetic tradition in which the intertextual relations take place in a conscious and technical manner and the work of imitation results of the creative re-elaboration of the patterns. The first chapter comes to situate Sá de Miranda?s comic work in the historical and cultural context in which it was generated. The second chapter deals with imitatio and intertextuality, establishing terminology and methodology for intertextual analysis of specifically literary works which have the intentional appropriation of texts as literary creation principle. The third chapter presents a brief history of the Roman theater, from its origins up to the arising of the fabula palliata, the Roman adaptation of the Greek New Comedy, which was the model of comedy imitated by the Italian poets of the Renaissance, whose works became paradigms to the Portuguese poet too. The last chapter is dedicated to the intertextual analysis of Sá de Miranda?s Comedy.

O presente trabalho teve como objetivo avaliar as problemáticas legislativas na Ordem de São Damião durante a vida de Clara de Assis (1193/4-1253). Para isso, foi feita uma análise comparativa da forma de vida de 1253 com as seguintes normas: a forma de vida de Hugolino de 1219, a Regula non bullata de 1221, a Regula bullata de 1223 e a forma de vida de Inocêncio IV de 1247. A forma de viver (do latim forma vivendi; literalmente, a forma que se deve viver) que teria sido dada por Francisco a Clara continha a máxima da altíssima pobreza e observância rigorosa do evangelho que na leitura franciscana proibía toda e qualquer tipo de propriedade. As resistências de Clara e suas coirmãs, através de cartas e pedidos à Igreja para vivenciar a pobreza prometida a Francisco, somavam-se na relutância das comunidades de Sorores minores às imposições dos papas Gregório IX (1227-1241) e Inocêncio IV (1243-1254) à Ordem de São Damião. Esta tese também discutiu o enquadramento dos movimentos femininos religiosos de seguimento franciscano e os impasses jurídicos do projeto da Igreja para o movimento franciscano. Por fim, foi avaliado de maneira serial um conjunto de bulas diretamente relacionados à Ordem de São Damião. As formas de resistência de Clara e irmãs pobres foram fundamentais para a aprovação da forma vitae que foi promulgada três dias antes da morte de Clara em 1253. A partir da análise dos aspectos acima relacionados, o principal intuito deste trabalho foi o de verificar o debate franciscano no âmbito das discussões jurídicas da Igreja e das irmãs pobres da Ordem de São Damião, com ênfase ao mosteiro em que Clara vivia. / The present work aims at evaluating the legislative issues in the Order of San Damiano during the life of Clare of Assisi (1193/4-1253). In order to do so, we carried out a comparative analysis between the form of life of 1253 and the following norms: form of life of Hugolino of 1219, the Regula non bullata of 1221, the Regula bullata of 1223, and the form of life of Innocent IV of 1247. The form of living (in Latin, forma vivendi; literally, the way one should live) which would have been given from Francis to Clare contained the motto \"high poverty\" and the strict observance of the gospel which, in the Franciscan reading, forbade any kind of property. Resistance forms of Clare and her sisters, through letters and claims to the church to experience the poverty promised by Francis, amounted to the reluctance of Sorores minores communities to the impositions of Popes Gregory IX (1227-1241) and Innocent IV (1243-1254 ) to the Order of San Damiano. This thesis also discussed the framing of religious women\'s movement of the franciscan segment and the legal impasses of the Church project to the franciscan movement. Finally, we serially evaluated one set of bulls directly related to the Order of San Damiano. Forms of resistance of Clare and the poor sisters were essential for the approval of the forma vitae, which was enacted three days before Clara\'s death in 1253. Through analysis of the aspects above, the main goal of this thesis will be verifying the debate Franciscan in the context of the judicial discussions of the Church and the poor sisters of the Order of San Damiano, with emphasis to the monastery where Clara lived.

O presente trabalho teve como objetivo avaliar a evolução das práticas jurídicas no movimento Franciscano e, para esse fim, partimos da proto-Regra de 1210, Regula non bullata de 1221, da Regula bullata de 1223 e do Testamentum beati Francisci de 1226. Ao estudarmos a construção da norma no movimento da primeira geração menorítica, demonstramos que a pobreza franciscana e a Imitatio Christi, que tem por base as Regras e o Testamento, foram adequados paulatinamente ao modelo jurídico da Igreja da época, ajustando-se ao Corpus Iuris Canonici e ao IV Concílio de Latrão, igualando-se às demais instituições religiosas tradicionais. Para o período de 1230 a 1323, foi imprescindível avaliar a dissidência franciscana dos resistentes a esse ajustamento, a qual influenciou as relações sociais e políticas entre a Igreja e a Ordem. Este trabalho de mestrado também discutiu a institucionalização do movimento Franciscano na época de vida de Francisco de Assis (1182-1226) e as contendas jurídicas em torno dos seus escritos legislativos formuladas posteriormente à sua morte. Para fazer tal análise, avaliamos de maneira serial um conjunto de bulas exegéticas sobre a Regra e o Testamento formuladas por diversos papas. Ademais, os debates internos à Norma gravitaram em torno de dois frades de atuação significativa para a Ordem, a saber, Boaventura de Bagnoregio (1221-1274) que, ao longo de seu generalato (1257-1274), introduziu mudanças institucionais importantes na Ordem e Angelo Clareno (1245-1337), um dos dissidentes do movimento Franciscano, originário da região da Marca de Ancona, lugar de importante produção teórica por parte de uma série de frades. A partir da análise dos aspectos acima relacionados, o principal intuito deste trabalho será aquele de verificar a evolução do conceito de pobreza franciscana no âmbito das discussões jurídicas da Igreja e da Ordem dos Frades Menores. / The present work aims at evaluating the evolution of the judicial practices in the Franciscan movement and, to do so, we departed from the proto-Rule of 1210, the Regula non bullata of 1221, the Regula bullata de 1223 and from the Testamentum beati Francisci of 1226. By studying the construction of the norm in the first minorite generation, we demonstrated that the Franciscan poverty and the Imitatio Christi, which have the Rules and the Testament as their base, were adapted to the judicial model of that time, gradually adjusting itself to the Corpus Iuris Canonici and to the IV Lateran council, equalizing itself to the traditional religious institutions. The period from 1230 to 1323 was crucial for the research because we evaluated the Franciscan dissidence of the resistants to this adjustment, which influenced the political and social relations between the Church and the Order. This Masters dissertation also discussed the institutionalization of the Franciscan Movement during Francis of Assisis life and the judicial dissents about his legal writings formulated after his death. In order to analyze this, we carried out a serial evaluation a set of exegetic bulls about the Rule and the Testament formulated by several popes. Moreover, the internal debates to the Norm gravitated around two friars who had significant roles to the Order: Bonaventure of Bagnoregio (1221-1274) who, along his generalate (1257- 1274), introduced important institutional changes in the Order and Angelo Clareno (1245-1337), one of the dissidents from the Franciscan movement, who comes from the region of Marca of Ancona, a place of important theoretical production by several friars. By analyzing the aspects above, the main goal of this dissertation will be verifying the evolution of the concept of the Franciscan poverty in the context of the judicial discussions of the Church and the Minor Friars Orders.