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Syftet med denna studie är att undersöka vilken historiekultur konstrueras i en svensk och i en bosnisk gymnasielärobok då fokus ligger på det tidigmoderna Sverige och det tidigmoderna Bosnien. Frågeställningar är följande: Hur beskrivs det tidigmoderna Sverige och det tidigmoderna Bosnien i de analyserade gymnasieläroböckerna det vill säga vilka politiska och kulturella händelser skildras? Förekommer några likheter och/eller skillnader i framställningen av det tidigmoderna Sverige och det tidigmoderna Bosnien? Finns det några jämförbara förhållanden eller idéer? Handlar det alltså om kontrasterande eller generaliserande komparation? Vilken bild av historiekultur konstrueras i respektive gymnasielärobok? Metoden som används är kvalitativ textanalys av läromedel och komparativ metod. Resultatet visar att politisk historia dominerar i beskrivningen av det tidigmoderna Sverige medan kulturell historia upptar mindre plats. I beskrivningen av det tidigmoderna Bosnien uppmärksammas politisk och kulturell historia lika mycket. Komparationen mellan framställningen av det tidigmoderna Sverige och det tidigmoderna Bosnien är i lika hög grad kontrasterande som generaliserande eftersom den karakteriseras av både likheter och skillnader i historieskrivningen. Likheter handlar om allmänna historiska drag som politik, kultur, händelser och personer medan skillnader innebär själva händelser och personer som är specifika för Sveriges respektive Bosniens historiska utveckling. Bilden av den svenska och den bosniakiska historiekultur är jämförbara och består av de händelser och personer som var betydande för ländernas territoriella expansion, politiska och kulturella utveckling. / The purpose of this study is to examine witch historiculture is constructed in a Swedish and in a Bosnian school textbook where the focus is on early modern Sweden and early modern Bosnia. Questions are: How describes early modern Sweden and early modern Bosnia in the analyzed secondary school textbooks that is to say, which political and cultural events depicted?  There are some similarities and/or differences in the production of early modern Sweden and early modern Bosnia? There are no comparable conditions or ideas? It is therefore about contrasting or excessively broad comparison? What image of historical-cultural constructs in each secondary school textbook? The method used is the qualitative text analysis of the textbooks and the comparative method. The result shows that political history dominate in the description of early modern Sweden while cultural history occupies less space. In the description of early modern Bosnia calls attention to the political and cultural history as much. The comparison between the production of early modern Sweden and early modern Bosnia is just as much contrast as excessively broad because it is characterized by both similarities and differences in the writing of history. Similarities are general historical features policy, culture, events and persons while differences involve the events and people that are specific to Sweden's respective Bosnia's historical development. The image of the Swedish and the Bosnian history culture are comparable and consists of the events and persons who were significant for countries ' territorial expansion, political and cultural development.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-02-03T18:45:37Z No. of bitstreams: 1 Mattos, Yllan-Tese-2013.pdf: 3843193 bytes, checksum: 715a65f889c258570ae5421a7da023fc (MD5) / Made available in DSpace on 2014-02-03T18:45:37Z (GMT). No. of bitstreams: 1 Mattos, Yllan-Tese-2013.pdf: 3843193 bytes, checksum: 715a65f889c258570ae5421a7da023fc (MD5) Previous issue date: 2013 / Os críticos da ação inquisitorial em Portugal fizeram uso de panfletos, memoriais ou mesmo de sua voz para forjar, posto que sem intenção, uma imagem literária do Santo Ofício que foi amplamente utilizada por diversos de seus adversários, sejam eles cristãos-novos ou velhos. Fato é que estes escritos ganhavam certa unidade dentro de uma diversidade de personagens que ocupavam lugares dispares ou mesmo tinham intenções diversas com suas palavras. Assim, esta investigação lança luz sobre a gestação e consolidação de um pensamento crítico acerca do Santo Ofício luso. / Critics of inquisitorial actions in Portugal made use of leaflets, memorials or even his voice to forge, since without intention, a literary image of the Holy Office that was widely used by many of his opponents, whether they were old or new Christians. The fact is that these writings earned a unity within a diversity of disparate characters that occupied places or even had different intentions with his words. Thus, this study sheds light on the creation and consolidation of critical thinking about the Portuguese Holy Office.

Le sujet de cette thèse est le mur comme élément du “décor’’, tel que l’âge classique l’entend. Pour les architectes et les théoriciens du XVIe et du XVIIe siècle, le mur contribue à la beauté de l’édifice. Différentes techniques de finition permettent de l’embellir : appareils en pierre de taille dressés et ravalés, bossages, briques polychromes, enduits qui unifient et enluminent les parements. Qu’il soit nu ou orné le mur n’est jamais neutre. Les architectes disposent sur le mur des motifs qui "enrichissent" les ordonnances, mais les surfaces décoratives qui qualifient les intervalles entre les principaux éléments du décor, ouvertures ou éléments de l’ordre, et les encadrements, qui montrent le mur comme un tableau, structurent les ordonnances, avec ou sans ordres. Ces ornements qui jouent un rôle aussi important sur le plan symbolique que syntaxique ont ainsi leur place dans le système classique des ornements dans lequel les ordres tiennent le premier rôle. Les ornements du mur peuvent prendre les caractères de l’ordre mais ont aussi leur propre rhétorique ; d’une part ils ont les qualités du mur même, d’autre part ils n’ont pas la même origine : les premiers ornements classiques imitent les inscriptions des monuments funéraires ou honorifiques de l’Antiquité. Une des particularités de la façade française est l’insistance sur les lignes verticales de la travée de fenêtres qui est en soi une composition ornementale. Les architectes coordonnent deux systèmes opposés : l’horizontalité qu’impose la superposition des ordres et la verticalité de la travée de fenêtres. Ils utilisent alors deux moyens : le renforcement des moulurations horizontales et l’ornement du mur. Cette thèse confirme certaines observations sur la façade française : l’effet a-tectonique des ornements, même si ceux-ci structurent la composition. Au principe classique de l’unité de l’organisme architectural dans lequel rien de peut être ajouté ou retranché, les architectes français apportent leur réponse : tous les éléments sont des ornements ainsi que le mur lui-même, qui se montre ou se voile de légers ornements. / The subject of this thesis is the wall as element of the "decor", such as the classic age understands it. For the architects and the theorists of the XVIth and of the XVIIth century, the wall contributes to the beauty of the building. Various techniques of finish allow to embellish it: dressed stone, perfectly raised, bossages, bricks, coat which unify and illuminate facings. Naked or decorated, the wall is never neutral. The architects put on the wall motives which "enrich" the composition, but the ornamental surfaces which qualify the intervals between the main elements of the decor, openings or elements of the order, and the frames which show the wall as a picture structure the composition, with or without orders. These ornaments which play a role as important on the symbolic plan as on syntactic one have their place in the classic system of the ornaments in which the orders hold the leading part. The ornaments of the wall can take the characters of the order but also have their own rhetoric; on one hand they have the qualities of the wall, on the other hand they don’t have the same origin: the first classic ornaments imitate the inscriptions of funeral or honorary monuments of the Antiquity. One of the peculiarities of the French facades is the insistence on the vertical lines of the bay of windows which is in itself a decorative composition. The architects coordinate two opposite systems: the horizontality which imposes the superimposition of the orders and the verticality of the bay of windows. They use then two means: the intensification of the horizontal moulding and the ornament of the wall. This thesis confirms certain observations on the French facade: the a-tectonic effect of the ornaments, even if this they structure the composition. To the classic principle of unity of the architectural body in which nothing can be added or substracted, the French architects bring their answer: all the elements are ornaments as well as the wall itself, which shows or hides with light ornaments.

Les rues et les places de Barcelone à l'époque moderne -période assez peu étudiée dans l'histoire de la grande ville méditerranéenne- ont reflété les conséquences d'une série d'événements souvent tragiques tels que la Guerre des Segadors ou les révoltes de 1714. Cette étude a choisi de donner la préférence à l'iconographie comme support original pour évoquer la vie quotidienne. Les documents présentés ici, provenant des archives de la ville s'ajoutent aux études relatives à l'évolution démographique, à l'immigration, aux fêtes civiles et religieuses, à la vie des congrégations et des corporations, au rôle des femmes ou aux grands évènements historiques qui ont marqués l'histoire de la ville. Il est montré comment, tout au long d'une période plus chaotique que "stagnante", la ville a affirmé son identité différente. / The streets and squares of Barcelona in the early modern era - period rather little explored in the history of the Mediterranean big city – have reflected the consequences of a series of often tragic events such as the War of Segadors or the revolts of 1714. This study has chosen to give the preference to the iconography as original support to evoke the everyday life. The documents presented here, proceeding from the city archives add up to studies relative to demographic evolution, immigration, civil and religious celebrations, life of the congregations and the corporations, the role of women or the historical great events which marked the history of the city. It is shown how, throughout one period more chaotic than “stagnant”, the city asserted its different identity.

The thesis "Biblical Introduction in Jerome Hirnhaim's Theologia Universalis" contributes to a deeper understanding of the early modern thinking about the Holy Scripture. Theological compendium "Theologia universalis" was composed by Jerome Hirnhaim, abbot of the Premonstratensian monastery at Strahov, in the second half of the 17th century, and was used as a teaching aid for the monastic clergy. The thesis analyses the extracts from the Hirnhaim's compendium which are dedicated to the questions of relationship between Scripture and Tradition, biblical inspiration, interpretation of the biblical text and laity reading of Scripture. A comparison with Robert Bellarmine's "De Controversiis" shows that Hirnhaim's lectures were largely based on this Bellarmine's work. Numerous correspondences between the Hirnhaim's compendium and Gaspard Juénin's "Institutiones theologicae", a textbook compiled for use in the French seminaries in the nineties of the 17th century, shows a transnational character of early modern Catholic theology and teaching practice. Differences between the early modern and current view of Scripture can be observed in the area of pastoral practice.

Surgidos na arena literária em pleno realismo, Machado de Assis e Henry James, contemporâneos entre si, apontaram em suas melhores obras um caminho diferente do preconizado pela nova escola. Esta tese procura compreender como, ao abraçar um programa estético supostamente conservador, esses escritores romperam com os padrões artísticos em voga em sua época, sem incorrer em procedimentos passadistas, mas, ao contrário, fazendo a ponte com a modernidade. Um dos caminhos é o exame da publicação francesa Revue des Deux Mondes, que ambos apreciavam. Órgão conservador, a revista foi durante décadas foco de ataques ao realismo e, depois, defensora de um realismo mitigado, que combinasse observação da realidade e a defesa do chamado ideal na arte. A análise procura aproximar a proposta estética da Revue das idéias críticas de James e de Machado, com o fito de decifrar como esses escritores conseguiram plasmar, em suas telas, um estado de coisas crepuscular, valendo-se de procedimentos expressivos inovadores. A tese investiga pontos de contato e de divergência entre os dois autores, sobretudo em seus romances The Ambassadors e Memorial de Aires, mas recorre também a uma série de outras narrativas longas e curtas. Detém-se, em especial, em obras iniciais da trajetória de ambos - Ressurreição, de Machado de Assis, e Eugene Pickering, de James. Na argumentação reúnem-se aspectos históricos e sociais em cujo cadinho formou-se a era moderna. Tais tópicos corroboram a análise de cena feita de The Ambassadors e do Memorial, em que se destacam considerações de ordem formal e de enredo. James e Machado buscam refúgio em técnicas sutis de apreensão da realidade, em que o elemento oculto tem tanto valor (ou mais) quanto o manifesto, e em que um tipo de leitura alegórica faz todo sentido. Desse modo, interessa menos uma discussão sobre conservadorismo ou progressismo, inclusive no setor das idéias, do que o desencanto que as páginas de ambos destilam em relação à civilização burguesa. É esse desencanto, ainda, plasmado na substância de expressão, que melhor se conjuga com as estratégias narrativas postas em prática por James e por Machado. / Writers Machado de Assis and Henry James - working in different countries, but at the same time - created, in their best works, a new way of doing fiction. That way was, above all, different from the one championed by the realistic school. This study strives do understand how, in a time at which realism dominated the artistic arena, both writers clinged to an allegedly conservative esthetic program, made a breakthrough in the artistic dogmas and built a bridge to modern times. One way to understand the matter is through an examination of the French publication Revue des Deux Mondes, of which both writers were fond. During years, the quite conservative magazine attacked realism and then, later, proposed a kind of softer version of it, a kind of artistic representation that combined idealism and observation of reality. Our analysis compares the esthetic doctrine evolved by the Revue with James\' and Machado\'s critical ideas. We intend, in the course of this analysis, pinpoint how these writers could paint a crepuscular state of things, nevertheless using expressively innovative techniques. The study focuses primarily on the novels The Ambassadors and Memorial de Aires in an effort to identify similarities and differences between James and Machado. It also examines many other short and long narratives written by both authors. In particular, it scrutinizes some works they did in the beginnings of their careers: Ressurreição, by Machado de Assis, and Eugene Pickering, by James. The analysis gathers together many historical and social features responsible for the birth of the modern era. They serve to corroborate the in-depth commentary on scenes taken from The Ambassadors and the Memorial, in which many technical aspects are brought to close attention. James and Machado make use of subtle techniques to depict reality, exploiting allegoric devices and probing both into the inner motives of their characters and the social forces that drive them. Thus and so, we are less interested in a discussion of conservative or progressive ideas, than in examining the disenchanted view both writers cast upon bourgeois society. After all, this disillusion, drawn together in the artistic matter, better entertains a productive arrangement with the narrative strategies started by James and Machado.

Surgidos na arena literária em pleno realismo, Machado de Assis e Henry James, contemporâneos entre si, apontaram em suas melhores obras um caminho diferente do preconizado pela nova escola. Esta tese procura compreender como, ao abraçar um programa estético supostamente conservador, esses escritores romperam com os padrões artísticos em voga em sua época, sem incorrer em procedimentos passadistas, mas, ao contrário, fazendo a ponte com a modernidade. Um dos caminhos é o exame da publicação francesa Revue des Deux Mondes, que ambos apreciavam. Órgão conservador, a revista foi durante décadas foco de ataques ao realismo e, depois, defensora de um realismo mitigado, que combinasse observação da realidade e a defesa do chamado ideal na arte. A análise procura aproximar a proposta estética da Revue das idéias críticas de James e de Machado, com o fito de decifrar como esses escritores conseguiram plasmar, em suas telas, um estado de coisas crepuscular, valendo-se de procedimentos expressivos inovadores. A tese investiga pontos de contato e de divergência entre os dois autores, sobretudo em seus romances The Ambassadors e Memorial de Aires, mas recorre também a uma série de outras narrativas longas e curtas. Detém-se, em especial, em obras iniciais da trajetória de ambos - Ressurreição, de Machado de Assis, e Eugene Pickering, de James. Na argumentação reúnem-se aspectos históricos e sociais em cujo cadinho formou-se a era moderna. Tais tópicos corroboram a análise de cena feita de The Ambassadors e do Memorial, em que se destacam considerações de ordem formal e de enredo. James e Machado buscam refúgio em técnicas sutis de apreensão da realidade, em que o elemento oculto tem tanto valor (ou mais) quanto o manifesto, e em que um tipo de leitura alegórica faz todo sentido. Desse modo, interessa menos uma discussão sobre conservadorismo ou progressismo, inclusive no setor das idéias, do que o desencanto que as páginas de ambos destilam em relação à civilização burguesa. É esse desencanto, ainda, plasmado na substância de expressão, que melhor se conjuga com as estratégias narrativas postas em prática por James e por Machado. / Writers Machado de Assis and Henry James - working in different countries, but at the same time - created, in their best works, a new way of doing fiction. That way was, above all, different from the one championed by the realistic school. This study strives do understand how, in a time at which realism dominated the artistic arena, both writers clinged to an allegedly conservative esthetic program, made a breakthrough in the artistic dogmas and built a bridge to modern times. One way to understand the matter is through an examination of the French publication Revue des Deux Mondes, of which both writers were fond. During years, the quite conservative magazine attacked realism and then, later, proposed a kind of softer version of it, a kind of artistic representation that combined idealism and observation of reality. Our analysis compares the esthetic doctrine evolved by the Revue with James\' and Machado\'s critical ideas. We intend, in the course of this analysis, pinpoint how these writers could paint a crepuscular state of things, nevertheless using expressively innovative techniques. The study focuses primarily on the novels The Ambassadors and Memorial de Aires in an effort to identify similarities and differences between James and Machado. It also examines many other short and long narratives written by both authors. In particular, it scrutinizes some works they did in the beginnings of their careers: Ressurreição, by Machado de Assis, and Eugene Pickering, by James. The analysis gathers together many historical and social features responsible for the birth of the modern era. They serve to corroborate the in-depth commentary on scenes taken from The Ambassadors and the Memorial, in which many technical aspects are brought to close attention. James and Machado make use of subtle techniques to depict reality, exploiting allegoric devices and probing both into the inner motives of their characters and the social forces that drive them. Thus and so, we are less interested in a discussion of conservative or progressive ideas, than in examining the disenchanted view both writers cast upon bourgeois society. After all, this disillusion, drawn together in the artistic matter, better entertains a productive arrangement with the narrative strategies started by James and Machado.

Den här avhandlingen handlar det underhåll till sårade och gamla soldater som den svenskastatsmakten organiserade under tidigmodern tid. Undersökningen tar sin utgångspunkt i den tid närstatsmakten började organisera mer omfattande hjälp för soldater, vilket var slutet på Gustav Vasasoch under Erik XIV:s regeringstid i mitten av 1500-talet. Motiven till att statsmakten organiseradehjälp för en del soldater var att dessa skulle ha offrat sin hälsa och arbetsförmåga i kronans tjänst, menså länge statsmakten fortsatte att vara relativt löst organiserad var även hjälpen till soldaterna avganska liten omfattning. Det ändrades under Gustav II Adolfs regering då planerna på att skapa ettkrigsmanshus i Vadstena etablerades, vilka senare genomfördes efter hans död och institutionen kundeta emot de första soldaterna senast 1640. I krigsmanshuset fick ett trettiotal soldater med familjeruppehälle, samtidigt som soldater boende i andra delar av landet fick stöd från krigsmanshuskassansom också administrerades från Vadstena. Mot slutet av 1600-talet blev kassan proportionellt merbetydelsefull än krigsmanshuset och runt år 1700 försörjde kassan flera tusen soldater runtom i riket.1700-talet innebar stora förändringar, bland annat genom att krigen blev färre, att krigaryrket intelängre var lika attraktivt som karriärväg för adelsmän och att statsmakten utvecklade andra mer civiladelar. Behovet av ett krigsmanshus fanns till sist inte längre och institutionen i Vadstena stängde förboende våren 1784, men kassan fanns kvar in på 1970-talet. / This dissertation focuses on the maintenance of wounded and old soldiers organized by the Swedishstate in the Early Modern Period. The thesis starts at the time when the government began to organizemore help for soldiers, which was the end of Gustav Vasa’s reign and during that of his son Erik XIVin the mid-16th century. The reasons why the government organized help for some soldiers weremainly that the soldiers would have sacrificed their health and ability to work in their service of theCrown. But as long as the government continued to be relatively loosely organized, the aid to thesoldiers remained on a relatively small scale. This changed under the reign of Gustav II Adolf (ruled1611–1632) when plans for the establishment of the Veteran's Home in Vadstena were established.These plans were later executed after his death and the institution was able to welcome the firstsoldiers by 1640. At the Veteran's Home, some 30 soldiers were kept with families while othersoldiers lived in their home parishes in other parts of the country and were supported by the Veteran’sFund, which was also administered in Vadstena. Towards the end of the 17th century, the fund becameproportionally more important than the Veteran’s Home and around 1700 the fund delivered support toseveral thousand soldiers. The 18th century meant major changes in society, including fewer wars, thatbecoming an officer was no longer as attractive as career path for the nobility, and that the governmentdeveloped other more civilian functions. The need for a Veteran’s Home was no longer the same underthose circumstances and the Veteran’s Home closed for residents in the spring of 1784, but the fundremained until the 1970s.

This thesis deals with the anthropological thinking of Nicholas of Cusa. The first part presents the fundamental metaphysical motifs that are the basis for this anthropology - above all, it concerns the conception of human as a mind (intellect). This conception is linked with the thinking of the first Principle (God) as the unity that is identical with itself. This unity/oneness of the One descends into the world through number that is one and multiple at the same time (all higher numbers consist of ones). The emphasis on unity of the One and on number as a mean of the creation is the reason, why Cusa's main concern, regarding the understanding of the world, aren't individual substances, but the relations between these substances. And for this kind of metaphysical thinking it is really important to develop also a strong notion of human intellect (mind), but the first philosophical texts to some extent fail to do so. The second part of this thesis deals with the proper anthropology that is developed in the dialogues with the idiota. It is shown what is the role of human mind in the dynamics of descent and ascent of unity of the One - it is the human mind and its intellectual return to its Beginning through which is all creation being made one and being brought to its true nature that is the One. The last...