This thesis examines Josef Jungmann's translation of Milton's Paradise Lost. Josef Jungmann was one of the leading figures of the Czech National Revival and translated Milton's poem between the years 1800 and 1804. The thesis thoroughly describes the Czech cultural situation at the beginning of the 19th century, covers Jungmann's theoretical model of translation and presents Jungmann's motives for translation of Milton's epic poem. The paper also describes the aims Jungmann had with his translation and whether he has achieved them. Also described is the reception Jungmann's translation received after it was published and its significance for the Czech literature. Primarily, this thesis focuses on detailed translation analysis of how Jungmann's translation compares prosodically, lexically and stylistically to the original and the first Polish translation. It also explores assumptions of some scholars who claimed that Jungmann's translation was indirect. Key words: Josef Jungmann, John Milton, Czech National Revival, indirect translation, neologism

This thesis examines Josef Jungmann s translation of Milton s Paradise Lost. Josef Jungmann was one of the leading figures of the Czech National Revival and translated Milton's poem between the years 1800 and 1804. The thesis thoroughly describes the Czech cultural situation at the beginning of the 19th century, covers Jungmann s theoretical model of translation and presents Jungmann s motives for translation of Milton s epic poem. The paper also describes the aims Jungmann had with his translation and whether he has achieved them. Also described is the reception Jungmann s translation received after it was published and its significance for the Czech literature. Primarily, this thesis focuses on detailed translation analysis of how Jungmann s translation compares prosodically, lexically and stylistically to the original. It also explores assumptions of some scholars who claimed that Jungmann s translation was indirect.

La llibertat d'expressió té els seus origens en el liberalisme de Gran Bretanya iels Estats Units. Les primeres reivindicacions a favor d'un intercanvi lliure d'ideesvan començar al segle XVII, amb el discurs Areopagitica de John Milton, quedemanava al Parlament anglès l'abolició de la censura a la imprempta. El 1971la llibertat d'expressió es va incorporar a la Constitució dels Estats Units; la sevaPrimera Esmena declarava: "el Congrés no farà cap llei... per la que es limiti lallibertat de paraula, o la de premsa". Aquest treball es centra en les aportacions ala llibertat d'expressió realitzades per John Stuart Mill, utilitarista anglès, i OliverWendell Holmes, realista americà, les quals es van introduir entre la segonameitat del segle XIX i la primera meitat del segle XX. Les obres d'ambdós autorss'estudien tenint en compte el moviment filosòfic al qual pertanyen. En primerlloc, la teoria sobre llibertat de pensament i discussió de John Stuart Mill esrelaciona amb la seva filosofia moral i política. En segon lloc, s'analitzen lesopinions judicials d'Oliver Wendell Holmes en les que formula el test del "perillclar i actual" i la teoria del "mercat obert de les idees". Aquesta aproximaciópermet mostrar que ambdós autors van liberalitzar el concepte de llibertatd'expressió imperant a la seva època, i van considerar que els seus fonamentsprincipals eren la recerca de la veritat i l'autorrealització individual. / La libertad de expresión tiene sus orígenes en el liberalismo de Gran Bretaña ylos Estados Unidos. Las primeras reivindicaciones a favor de un intercambio librede ideas empezaron en el siglo XVII, con el discurso Areopagitica de JohnMilton, que pedía al Parlamento inglés la abolición de la censura en la imprenta.En 1791 la libertad de expresión se incorporó a la Constitución de los EstadosUnidos, cuya Primera Enmienda declaraba: "el Congreso no hará ley alguna...por la que se limite la libertad de palabra, o la de prensa". Este trabajo se centraen las aportaciones a la libertad de expresión realizadas por John Stuart Mill,utilitarista inglés, y Oliver Wendell Holmes, realista americano, las cuales seintrodujeron entre la segunda mitad del siglo XIX y la primera mitad del siglo XX.Las obras de ambos autores se estudian teniendo en cuenta el movimientofilosófico al cual pertenecen. En primer lugar, la teoría sobre libertad depensamiento y discusión de John Stuart Mill se relaciona con su filosofía moral ypolítica. En segundo lugar, se analizan las opiniones judiciales de Oliver WendellHolmes en las que se formula el test del "peligro claro y actual" y la teoría del"mercado abierto de las ideas". Esta aproximación permite mostrar que ambosautores liberalizaron el concepto de libertad de expresión imperante en suépoca, y consideraron que sus fundamentos principales eran la búsqueda de laverdad y la autorrealización individual. / Freedom of speech has its origins in liberalism from Great Britain and the UnitedStates. The first claims for a free exchange of ideas started in the 17th century,with John Milton's Areopagitica, in which the abolishing of printing censorship bythe English Parliament was demanded. In 1791, freedom of speech was includedin the Constitution of the United States, whose First Amendment declared:"Congress shall make no law. abridging the freedom of speech, or of the press".This study focuses on the specific contributions to freedom of speech made bythe English utilitarian John Stuart Mill and the American realist Oliver WendellHolmes, which were introduced throughout the second half of 19th century andthe first half of 20th century. The works of both authors are discussed bearing inmind the philosophical movement to which they belong. Firstly, John Stuart Mill'stheory of thought and speech is related to his moral and political philosophy.Secondly, Oliver Wendell Holmes' judicial opinions on both "clear and presentdanger" test and the "free marketplace of ideas" are analysed. This approachmakes it possible to show both authors liberalize the concept of freedom ofspeech and consider that its foundations are, basically, the discovery of truthalong with individual self-development.

The purpose of this study is to investigate how John Milton uses music imagery in his English poetry. This is accomplished through consideration of the musical milieu of the late Renaissance, particularly of seventeenth century England, through examination of the symbolic function of music imagery in the poetry, and through study of the significance of music imagery for the structure of the poem. Milton relies on his readers' familiarity with sounds and contemporary musical forms as well as with the classical associations of some references. Images of practical music form the greater part of the imagery of music that Milton uses, partly because of the greater range of possibilities for practical images than for speculative images. The greater use of speculative images in the early poems indicates the more idealistic stance of these poems, while the greater number of practical images in the later poems demonstrates Hilton's greater awareness of the realities, of the human situation arising from the years spent as apologist for the Puritan cause and as Latin Secretary of State. Music imagery is important as a structural device for Milton. He uses music images to provide unity for, to "frame," and to maintain decorum in the poems. A number of the earlier, shorter poems rely heavily on music as structural device. "At a Solemn Music" depends solely on the use of extended music imagery. "L'Allegro" and "II Penseroso" are linked by parallel music images. Music imagery maintains the decorum in "Lycidas" and to a lesser degree in "A Mask". In the epics music images, used in a variety of ways, serve to unify the poems. Most notable in Paradise Lost and Paradise Regained is the echoic effect Milton achieves through the use of repeated music images.

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-01-13T13:50:19Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Marcos Aurélio Zamith Fernandes.pdf: 1276004 bytes, checksum: f558b72dc2198e6785d76d99ddd20fbf (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-01-27T12:59:02Z (GMT) No. of bitstreams: 2 Marcos Aurélio Zamith Fernandes.pdf: 1276004 bytes, checksum: f558b72dc2198e6785d76d99ddd20fbf (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-01-27T12:59:02Z (GMT). No. of bitstreams: 2 Marcos Aurélio Zamith Fernandes.pdf: 1276004 bytes, checksum: f558b72dc2198e6785d76d99ddd20fbf (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-18 / This work aims at analyzing the character of Satan in the epic work Paradise Lost by the Puritan writer John Milton (1608-1674). More specifically, it aims at offering an answer to the question: in what manner do the traits of the serpent reflect Satan? In order to do that, the analysis was divided into parts. In the first chapter, it was presented the context of the literary production and reception of the work Paradise Lost in order to show features of this corpus and to relate them to other literary works and with its historical moment. In the second chapter, concepts of the narrative theory of Mieke Bal (1997) were applied to the protagonist so that the analysis of Satan in itself and in relation to other elements of the narrative was theoretically based. Finally, in the third chapter, based on a list of features provided by Charlesworth (2010) about the animal serpent (author's expertise), these features were related to the Milton's serpent so that one comprehends traits of the character of the serpent that together relate to Satan. This analysis is justified because many works were found about the Satan of Paradise Lost, nevertheless none whose theme was delimited in that manner. Once a narrative theory and texts from the literary criticism on Milton and of his epic poem pertinent to the current theme were chosen, it is expected that this dissertation allows the reader of Paradise Lost to acquire a more accurate view on the function of the character of Satan in the plot, particularly in the form of the tempting serpent assumed by Satan. / Este trabalho visa a analisar a personagem Satã da obra épica Paradise Lost do escritor puritano John Milton (1608-1674). Mais especificamente, objetiva-se oferecer uma resposta à questão: de que maneira os traços da serpente refletem Satã? Para isso, a análise se dividiu em partes. No primeiro capítulo, apresentou-se o contexto de produção e recepção literárias da obra Paradise Lost com a finalidade de mostrar características desse corpus e relacioná-las com outras obras literárias e com seu momento histórico. No segundo capítulo, aplicaram-se à protagonista conceitos da teoria da narrativa de Mieke Bal (1997) para que fosse fundamentada teoricamente a análise de Satã em si mesmo e em relação a outros elementos da narrativa. Finalmente, no terceiro capítulo, com base numa lista de características fornecidas por Charlesworth (2010) a respeito do animal serpente (especialidade do autor), relacionaram-se essas características com a serpente de Milton de modo que se compreendessem traços da personagem serpente que em conjunto se relacionam com Satã. Esta análise se justifica na medida em que se encontraram vários trabalhos sobre o Satã de Paradise Lost, no entanto nenhum cujo tema fosse delimitado dessa forma. Escolhidos uma teoria da narrativa e textos da fortuna crítica de Milton e de sua épica pertinentes ao presente tema, espera-se que esta dissertação permita que o leitor de Paradise Lost adquira uma visão mais apurada a respeito da função da personagem Satã na trama, em particular da forma de serpente tentadora assumida por Satã.

This study analyses readings and interpretations of the satanic figure in John Milton´s epic Paradise Lost. The study highlights positions from the literature debate about Satan, the main character, and analyses interpretations of Milton´s Satan in order to investigate the critical positions about the relation between text and interpretation. The study has a meta-perspective and analyses the character of Satan in relation to the two main positions that have occupied the debate. The central question for this study is the role of the satanic figure in Paradise Lost. Have the critics read him as a tragic hero or is he being portrayed as the embodiment of evil? By reading which strategies have been used for interpretation by critics in order to come to conclusions about Satan, I have also shown what views exist concerning literary texts and character presentation. The result shows two clear traditions, satanists and anti-satanists, the former interpreting Satan as a positive character and the latter viewing him as a negative one. This study has shown that the debate concerning Satan has touched upon a wide spectrum of subjects where questions concerning authority, revolt and the closeness/distance to a text has been part of the interpretations. The satanic figure has at the same time shown to be an ambivalent 'round' character which makes simple interpretations of him more difficult.

The setting of Milton’s great sequel is puzzling, being called a desert and a “waste wild” (IV. 523) repeatedly and at the same time including descriptions of protective oaks and woody mazes. These conflicting descriptions conjure up several questions: In which environment does the epic take place? Because Milton is so detailed in his adaptations of biblical narrative the inclusion of trees is quite perplexing. While he does tend to expand biblical narrative quite frequently – e.g. Paradise Lost – he rarely initiates a change without just cause. The crux of this particular change centers on what this just cause could be. How does the addition of a few trees change the overall effect of Milton’s brief epic? This thesis thus attempts to find further meaning in Paradise Regained’s setting by exploring three possibilities for this just cause while uncovering what the concept of a tree/forest means in early modern England.

In this paper, I argue that Milton envisions a long view of education in which continual encounters with evil allow created beings to prove themselves and gradually approach a state like God’s—a state marked by constant righteous habits and by a dilation of subjective time with increased access to past and future knowledge. I discuss the roles of opposition in Miltonic education, illustrating how non-examples may result in apophatic revelation about the divine. Acts of rebellion in Paradise Lost demonstrate, however, that the timetable for introducing opposition proves complex, since created beings, the devil among them, act on their own initiative and tinker with the orchestration of Heaven’s agenda. Obedient beings, meanwhile, begin to approach God’s own course of time as they solidify holy habits and respond with constancy to persistent, recurring evils. By establishing a contrast of temporalities experienced between the wise faithful who grow toward God in reason and the foolish fallen who move against him at every turn, Milton’s epic poem suggests a spectrum model of Christian time—intricately ordered for those nearing God and utterly disorganized for those who distance themselves from him. I argue that in Milton’s work, those who obey develop toward the stability of eternity, participating in both cyclical and linear wholes: as the righteous obey with ever more precision, their lives revolve around their King more perfectly even as he marks a sure course onward. Those who oppose God, meanwhile, become subject to extremely chaotic and volatile experiences of time that resist organization into meaningful trajectories. My conclusion analyzes the way these claims might upset some constructions of Miltonic education in existing scholarship and outlines principles for ongoing improvement to the ways educators approach questions of challenge, assessment, repetition, and habit formation.

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