No description available.

The year 1880 was rife with nationalist fervor and a general glorification of the French nation through imagery, literature and legislation. However, at this same time, Les Soirées de Médan, a collection of stories concerning the Franco-Prussian war also appear, bringing with them a distinctly anti-nationalist, harsh, and unforgiving view of the war and France's role in it. This thesis will examine personifications of France within L'attaque du Moulin and Boule de suif, the first two texts of Les Soirées de Médan, and their definite lack of the nationalist enthusiasm that characterized the time of their creation. The study of these allegorical representations reveals the place in the mentality of the French people of the concept they represent, a shorthand for a complex and evolving idea. Though others have mapped out the historical appearance and place of representations of France, I will delve into the possible reasons for the necessity of the feminine in this allegorization, the connotations and conventions that make it an effective tool for fighting nationalist tides for both Zola and Maupassant, and the historical and political context that allow us to trace a general shift in the concept of the nation through these female symbols. Furthermore, given the prevalence of female allegories at the time, and the monopolization of their usage for political purposes, the choice of these authors to employ allegory (a rhetorical mode characterized by its official status with the very regime they are criticizing) takes on further levels of criticism and satire. Exploring the opposition and relationship of these two literary female allegories to contemporary allegorical and visual representations will reveal how they relate to-and eventually criticize and reject-the prevailing political and nationalist discourse of their day.

This thesis examines the thought of Joan of Arc for categories of identity paving the way to modern nationalism. The underlying model for this undertaking is Ernst Kantorowicz's theory of the increasing depersonalization or abstractness of power. With this model as a guide, this thesis proposes a set of categories of identity on which the process of change put forward by Kantorowicz can be tracked. The thesis then classifies, against this backdrop, the individual categories as either progressive, i. e. abstract, or concrete, i. e. dependent on the older ideas of power and kingship, arguing that the concrete categories may be associated with the principles of popular mentality as described by Aron Gurevich. It turns out, however, that clear-cut criteria distinguishing concrete and abstract categories are difficult to establish and, at the end of the day, we have to settle for a simplifying and not entirely satisfactory classification. The analytical part of the thesis then examines what instances of categories of identity can be found in the minutes of the interrogation of Joan of Arc. The overwhelming majority of these categories of identity, it turns out, fall under the 'concrete' label. Such a result seems to correspond very well with the Gurevichian idea of difference, although by no means an absolute...

<p>The cult of Joan of Arc has always had an effect on the people of France, throughout history. It has aspired too many different views and re-surfaced at times in crisis for France. During some turbulent years after the mid 19^th century the cult seems to have gained popularity. Emotional and historical writing became a fashion and Joan was presented in different ways depending on the writer and his motifs. As nationalistic front gained in popularity they understood to use her symbol in the name of France.</p><p>This following study, named <em>French Nationalism and Joan of Arc: the Use of the Cult of Joan of Arc in France between 1871-1926</em>, has been an attempt to study her cult from an ultra nationalistic point of view. By approaching the subject by a history of ideas theory I have tried to answer my questions in the matter, and tried to de-code the image of Joan of Arc in the name of nationalism. By first studying the nationalistic development in France as background and the basics and philosophy of the ideas I have then begun the research of the period mentioned. First and foremost I have studied the framework of nationalism and then I have used material coherent to my study, such as Action Française, writers of the 19^th-20^th century and other studies. I have come to learn that the cult of Joan was perfect for the time when ultranationalistic feelings grew in the late 19^th century as a response to the ever twisted Dreyfuss-affair. Along with nationalism came anti-Semitism and fascism and in the line of Action Française also royalism. Joan of Arc stood for all those things, at least that is what the nationalist thought, using history and documents to back it up. And if the legend did not fit the purpose, it was made to fit, all in the ideology of nationalism. Joan of Arc became the symbol they wanted for all their own beliefs. Joan of Arc was to be a piece of raw clay, able to take on any form in the hands of politics.</p>

The cult of Joan of Arc has always had an effect on the people of France, throughout history. It has aspired too many different views and re-surfaced at times in crisis for France. During some turbulent years after the mid 19th century the cult seems to have gained popularity. Emotional and historical writing became a fashion and Joan was presented in different ways depending on the writer and his motifs. As nationalistic front gained in popularity they understood to use her symbol in the name of France. This following study, named French Nationalism and Joan of Arc: the Use of the Cult of Joan of Arc in France between 1871-1926, has been an attempt to study her cult from an ultra nationalistic point of view. By approaching the subject by a history of ideas theory I have tried to answer my questions in the matter, and tried to de-code the image of Joan of Arc in the name of nationalism. By first studying the nationalistic development in France as background and the basics and philosophy of the ideas I have then begun the research of the period mentioned. First and foremost I have studied the framework of nationalism and then I have used material coherent to my study, such as Action Française, writers of the 19th-20th century and other studies. I have come to learn that the cult of Joan was perfect for the time when ultranationalistic feelings grew in the late 19th century as a response to the ever twisted Dreyfuss-affair. Along with nationalism came anti-Semitism and fascism and in the line of Action Française also royalism. Joan of Arc stood for all those things, at least that is what the nationalist thought, using history and documents to back it up. And if the legend did not fit the purpose, it was made to fit, all in the ideology of nationalism. Joan of Arc became the symbol they wanted for all their own beliefs. Joan of Arc was to be a piece of raw clay, able to take on any form in the hands of politics.

Jean Bréhal est un dominicain normand, docteur en théologie, qui s’est fait un nom en tant qu’inquisiteur du royaume de France, non pas en traquant l’hérésie, ou en poursuivant des sorcières, mais en annulant des condamnations, et plus particulièrement celle de la Pucelle d’Orléans, vingt-cinq ans après le bûcher de Rouen. Sa longévité dans l’officio inquisitionis (de 1452 à 1474), sous les règnes de Charles VII et de Louis XI, contraste avec le nombre réduit d’affaires qu’il a instruites, d’après les sources. Aussi on peut se demander s’il fait figure d’exception, ou s’il est inquisiteur exemplaire de la fin du Moyen Âge. Le «cas Bréhal» invite à examiner la charge d’inquisiteur après le Concile de Vienne, dans le contexte particulier, à la fois d’un territoire encore marqué par les antagonismes de la guerre de Cent ans, et d’une Église éprouvée par le Grand Schisme et ses séquelles. Sur la base d’un corpus composé principalement des écrits du dominicain, dont certains éléments sont des manuscrits inédits, mais dont le noyau est constitué par la procédure en nullité de la condamnation de Jeanne d’Arc, cette thèse se propose non seulement d’appréhender l’homme et son parcours, mais aussi et surtout sa pensée, d’analyser son écriture scolastique, de saisir le sens de son action, percer ses motivations, et peut-être comprendre la nature du «pouvoir» qu’il a incarné pendant plusieurs décennies. Au final, c’est une époque, des milieux, et la situation d’un office, que cette étude centrée sur Jean Bréhal éclaire, tout autant que la spécificité d’un individu. Elle a surtout pour but de faire connaître une œuvre qui embrasse des champs variés et des centres d’intérêts divers. / Jean Bréhal is a Dominican friar from Normandy and a theology professor, who became renowned as an inquisitor in the kingdom of France, neither for tracking down heresy nor pursuing witches, but for quashing sentences, more especially the sentence of condemnation of the Maid of Orléans, twenty five years after she was burnt at the stake in Rouen. The longevity of his tenure in the officium inquisitionis (from 1452 until 1474), in the reigns of Charles VII and Louis XI, contrasts with how few investigations he actually conducted, according to the documentation. So we wonder whether he was an exception or exemplary for the late Middle Ages. The “Bréhal case” suggests looking upon the office of inquisitor after the Council of Vienne, in the particular context of a territory that was still scarred by the divisions of the Hundred Years’ war, and of a Church that had been tested by the Great Schism and its aftermaths. Our corpus mostly consists of the Dominican’s own writings, of which some documents are unpublished manuscripts, and its core lies in the trial of nullification of the condemnation of Joan of Arc. On that basis, the aim of this thesis is to know not only the man and his journey but also, and above all, his thinking, to parse his scholastic prose, to grasp the meaning of his action, to discover his motivation, and to understand the nature of the “power” that he has embodied over several decades. Eventually, this study, while focusing on Jean Bréhal, sheds light as much on a time, a world and the state of an office, as on the specificities of one individual. Above all, its goal is to introduce readers to a body of works that contains various fields and interests.

M.A. / This dissertation explores On The Contrary by Andre P. Brink against the backdrop of creative reading with emphasis on interpretation of the text as a process rather than as a product. The title On The Contrary is already indicative of the author's intention to unlock a myriad of interpretative possibilities in stead of tangibilitating a conclusion. The title also illuminates the principle that what is written is not necessarily what is said, that none of the content is cast in concrete and that the work concerns itself with the offering of contrasts: truth and untruth, imagination and reality, guilt and innocence. A symbiosis of dualism and parallelism is portrayed in order to enrich the potential for multiple text interpretations. Various texts are incorporated into the text of On The Contrary on an inter-textual basis, for the purpose of facilitating the interpretative process in an explicit and/or implicit manner. This study investigates and discusses the following three specific texts: • Don Quijote by Cervantes. Several explicit references are made to this canonised novel of Western literature, but it is the subtle, implied similarities between the lives of the characters Estienne Barbier and Don Quojote that serve as interpretative keys. • Jeanne d' Arc and her history. • The life history of Estienne Barbier, the historical 18 th century Cape figure. Remarkable documented similarities between the historical characters, Barbier and Jeanne d'Arc invite the analytical reader to try and establish the extent and purpose of incorporating the Jeanne d'Arc text into On The Contrary. Through the process of creative reading, the reader's assessment and understanding of Estienne Barbier, as a character in the novel, is moulded and formed by the life story and philosophy of Jeanne d'Arc. Barbier is constructed from a compound of historical facts and fictitious incidents. Historical "gaps" in the life of Estienne Barbier are compensated for through the introduction of elements from the life history and philosophy of Jeanne d'Arc. To that extent Barbier is a consequential character whose life and philosophy inextricably reflects examples derived from Jeanne d'Arc. The inter-textual process imbues a linear Estienne Barbier with depth in regard to the events that effect him and allows him to grow in the eyes of the reader, through fruitful application of parallels between the histories of Jeanne d'Arc and Estienne Barbier. The use of Jeanne d'Arc inter-textually and the virtual "retelling" of Jeanne, profoundly tell the story of a rebellious Barbier's "crusade" in pursuit of righteousness. In similar fashion the historical character Estienne Barbier is "told" into the romantic character Barbier in an attempt to transcend from imagination to reality. The reinterpretation of history, with the view of arriving at an alternative historical interpretation, becomes possible through the use of fiction. In primary instance this study investigates the manner in which the abovementioned three texts are incorporated inter-textually in the novel On The Contrary. Secondly an attempt is made to identify the narrative strategies that are used to arrive at a possible interpretation of the text and lastly it indulges in an exploration of the healing effect that the process of (imaginary) storytelling has in the lives of characters such as Don Quijote and Estienne Barbier.

This dissertation explores the intersection between three different literary genres – historiography, tragedy, and epic poetry – in the neoclassical period, taking as its central problem the way said genres set out to represent strange and even unintelligible moments in the past. It is based on a case study of four canonical works that, contrary to what is expected of neoclassical literature, represent historical figures seen by audiences of the time as too disturbing or too farcical to be intellectually or artistically “useful”: the violent Roman hero Horace (the protagonist of Corneille’s eponymous tragedy), the Swedish king Charles XII (who anchors Voltaire’s first historical biography) and finally Joan of Arc (who appears in Voltaire’s comical epic La Pucelle d’Orléans, and in Schiller’s tragedy Die Jungfrau von Orléans). In exploring these texts, I set out to show that, while neoclassical poetics deeply emphasized the importance of representing the past in a plausible and dignified manner (be it in histories or in poetry), authors of the time were also aware that the past could be the domain of the uncanny and the fabulous, and that representing the implausible required different kinds of textual experimentation and different ways of playing with genre norms.

The Role of a Noblewoman in England during the Wars of the Roses Bc. Karolína Snellgrove Abstract This work will focus on the emancipation of noble women in England in the second half of the 15th century and their role as patrons, warriors, but also alleged witches. For our purposes we'll concentrate on Margaret Beaufort and Queens Margaret of Anjou and Elizabeth Woodville. We will also try to evaluate the influence of Joan of Arc on the medieval emancipation of women in England and find out under what circumstances and to what extent high-ranking women could have been independent at this time.

No description available.