Habilitationsschrift--Munich. / Summary in English. Bibliography: p. 247-249.

Thesis (Ph. D.)--University of Notre Dame, 2005. / Thesis directed by Graham L. Hammill for the Department of English. "November 2005." Includes bibliographical references (leaves 373-404).

This thesis is divided into four main sections as outlined in the following paragraphs. After a brief introduction setting out the purposes and limitations of the thesis, we examine Marlowe’s critical reputation from his own time to the present. We find that he was largely ignored as a playwright until he was "rediscovered" by the Romantic critics at the beginning of the nineteenth century. These critics created the myth of Marlowe as a passionate young rebel against an orthodox world, a myth that persisted well into the twentieth century. When we come to the twentieth century, we divide Marlowe critics into the Romantic (those who maintain the image of Marlowe as a rebel against orthodoxy) and the anti-Romantic (those who view him as a traditionalist). Representative works from each group are examined. It is then decided that this thesis, while it does not deny the validity of the Romantic approach, is anti-Romantic since it seeks to emphasize the traditional side of Marlowe’s writing. We then proceed to a discussion of the morality play in order to set out a working definition of the genre. This is done by an examination of the sources and the history and development of the morality and by a more extensive examination of its outstanding characteristics. We find that there is present at least one of three basic themes: the conflict of good and evil for the soul of man, contempt of the world, and the debate of the Heavenly Virtues for the soul of man after death. Certain stock characters constantly reappear, the most important of which are the Everyman type, the Vice, the Devil, the Worldly Man, the Good and Evil Angels, and Death. Two basic structural types are used, the first showing a central character who is influenced by alternating groups of good and evil figures, and the second making use of a comic subplot, alternating scenes of moral didacticism with scenes of comic relief. Other characteristics of moralities are found to be the extensive use of debate and the lack of a realistic space-time concept. We then define the morality as a didactic play using one or more of the characteristic themes, stock characters, and one of the structural patterns outlined above. We then proceed to compare Edward II with this definition. Thematically, we find that the conflict between good and evil for control of man’s soul is present in the conflict between the nobles and Gaveston for control over the king. This is developed in the morality fashion, showing the central figure succumbing to vice, repenting, and ultimately gaining salvation. The theme of contempt of the world is also present particularly in the story of Mortimer and Isabella, whose rise and fall is found to follow the pattern of the "Worldly Man" morality. We then proceed to show that thematically Edward II is a combination of two morality play types, the "good and evil conflict" type and the "Worldly Man" type, and that the conflicting roles that characters are required to play in these two structures sometimes gives rise to character ambiguity. An examination of the character types present in the play shows that Edward plays the Everyman role in the "good and evil" structure and the Heavenly Man in the "Worldly Man" structure, Mortimer’s character is found to be ambiguous because he is forced to play a virtuous counsellor within one structure and the Worldly Man in the other. The same applies to Isabella. Less important characters lack this ambiguity and function in a more straightforward manner. Kent represents Moderation, Gaveston is the Vice, Spencer and Baldock are assistant Vices, Lightborn is Death, and Prince Edward is Justice. Structurally, Edward II follows the pattern of a central character coming under the influence of good and evil characters alternately. Debate is of limited importance in the play and the concept of time is loose, as is the concept of space. The thesis concludes that although there are a number of morality play elements in Edward II, the play cannot be regarded as a morality because it does not teach an overt lesson. Although certain precepts are embodied in the text of the play, Marlowe himself seems to withold moral judgment on the action. / Arts, Faculty of / English, Department of / Graduate

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / O objetivo dessa dissertaÃÃo à descrever e analisar como a situaÃÃo e a condiÃÃo de indivÃduos âmarcados para morrerâ (ameaÃados de morte) afeta as socialidades das crianÃas moradoras do Serviluz, tendo em vista que, muitas delas perderam seus parentes em decorrÃncia da violÃncia letal na favela. A interface com a antropologia da crianÃa, a sociologia da infÃncia, alÃm da sociologia e antropologia da moral conduzem essa investigaÃÃo. A problemÃtica teÃrica central ou a generalidade teÃrica do objeto de pesquisa concentra-se no que estou chamando de sujeitos indesejÃveis. Jovens sÃo ameaÃados de morte nas favelas e periferias, moralmente condenados, rechaÃados da sua rede de relaÃÃes sociais e informados (estigmatizados e condenados) como sujeitos matÃveis ou como vidas descartÃveis. A articulaÃÃo dessa investigaÃÃo socioantropolÃgica se dà pela perspectiva da agÃncia das crianÃas, das moralidades e das percepÃÃes que elas possuem sobre os sujeitos indesejÃveis. AlÃm disso, o âmarcado para morrerâ à compreendido aqui como um dispositivo moral extremamente relevante para as socialidades e a construÃÃo moral das crianÃas do Serviluz. O trabalho de campo etnogrÃfico à a base desta pesquisa, a partir de conversas informais com crianÃas e adultos, conversaÃÃes gravadas, roda de conversaÃÃo e brincadeiras com as crianÃas. AtravÃs disso foi possÃvel construir as interaÃÃes em campo e a produÃÃo de dados empÃricos.

Thesis (Ph. D.)--University of Pennsylvania.

No description available.

The purpose of this study was to arrive at conclusions regarding the nature and background of the anonymous playwright of the medieval morality play Mankind (composed c. 1470). The presumed audience for this study is the group of readers who criticize, produce, or perform medieval English drama. An analysis was conducted according to the precepts of classical rhetoric as it appeared in the dialogue of the evil characters Nought, New-Guise, Nowadays, Mischief, and Titivillus. The lines of these characters were closely read for clues as to the rhetorical perspective of the playwright.In addition to the classical evidence, the study gathered textual evidence of Germanic pagan influences upon the playwright. The researcher arrived at the conclusion that the classical and Germanic influences were significant in the playwright's choice of actions and dramatic devices. The study includes a review of literature and a synopsis of the action of the play.

Thesis (Ph. D.)--University of Pennsylvania.

Although it is generally accepted that the Morality Plays greatly influenced Elizabethan drama, this statement is often followed by the rider that they are dull and lifeless and that their chief legacy is a sense of moral earnestness which also characterises the best Elizabethan drama. The aim of this thesis has been to read the Morality Plays closely and in an appreciative spirit in order to find out what significant contribution they do make to the techniques of Elizabethan drama and to a proper understanding of it. Chapter I discusses the earliest complete Morality, The Castle of Perseverance, which is the longest and most comprehensive of all the Moralities. The chapter tries to show what a Morality is about and how it differs from the great mediaeval cyclus, the Mystery Plays. It is also an attempt to relate the early Morality Play to other mediaeval literature and to show that it is closely linked to the homeletic literature of the period. Chapter II is a study of three Moralities of the period 1500- 1520. There are fewer Moralities in this period and the plays chosen show a marked similarity to The Castle of Perserverance in their structure, although they differ from the earlier Moralities in their attitude to their subject matter and in their portrayal of the different allegorical characters. The plays under discussion are Nature, Mundus et Infans and Magnyfycence Chapter III; the period after 1535 was a period of great political and religious upheaval and this chapter discusses the plays written for propaganda purposes in the strife between Catholic and Protestant. John Bale's Three Laws, an anti-Catholic play, was chosen because Bale is a startlingly original dramatist who makes use of techniques derived from the liturgy and from emblematic devices, and because he tries to mould the Mystery Plays and the History Plays into a Morality framework. The other plays The Conflict of Conscience was chosen because of its affinity to Dr Faustus and also because it tries to show the psychomachia in psychological, personal terms rather than in a general allegorical manner. Chapter IV discusses three later Moralities, Cambyses, Horestes and Appius Virginia, which portray historical or fictional characters in situations of conflict. They were chosen because they seem to show that the Morality Plays laid the bases for the Elizabethan tragic situation and the Elizabethan tragic hero. With such diverse material, it is difficult to trace a clear line of development from one play to the next, but each group of plays has its own contribution to make to our understanding of Elizabethan drama.

Submitted by Luciana Sebin (lusebin@ufscar.br) on 2016-09-20T12:05:56Z No. of bitstreams: 1 DissDPP.pdf: 1150158 bytes, checksum: d70db8f42ac07e2e408929d180fd9afb (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-21T12:44:01Z (GMT) No. of bitstreams: 1 DissDPP.pdf: 1150158 bytes, checksum: d70db8f42ac07e2e408929d180fd9afb (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-21T12:44:08Z (GMT) No. of bitstreams: 1 DissDPP.pdf: 1150158 bytes, checksum: d70db8f42ac07e2e408929d180fd9afb (MD5) / Made available in DSpace on 2016-09-21T12:44:15Z (GMT). No. of bitstreams: 1 DissDPP.pdf: 1150158 bytes, checksum: d70db8f42ac07e2e408929d180fd9afb (MD5) Previous issue date: 2015-12-15 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / The prostitution is ambiguous: while it is recognized as an occupation is also a morally confusing activity to the dominant values at the same time that the state guarantees the occupancy condition for prostitute, criminalize the other activities in your surroundings (whose main implication is the operating profit of impossibility about the work of a prostitute) and victimizes. This injunction prostitution condition causes people dealing with this world end up creating conduct and internal codes of everyday action, so you can keep your active practices and markets, moving just between the spheres of legal and illegal, moral and immoral. This work aims to understand, from the codes and conducts the operation of some areas of prostitution in three different cities in the interior of São Paulo: Iris, Girassol and Gardenia. In each of these cities it was possible to see some prostitution contexts, especially in streets, squares and houses. These spaces was conducted fieldwork with interviews and analysis of media records (printed and virtual newspapers, blogs, brochures etc.). / O exercício da prostituição é ambíguo: ao mesmo tempo em que é reconhecido como uma ocupação é também uma atividade moralmente desconcertante para os valores dominantes, ao mesmo tempo em que o Estado garante a condição de ocupação para a prostituta, criminaliza as demais atividades no seu entorno (cuja principal implicação é a impossibilidade de exploração de lucro sobre o trabalho de uma prostituta) e a vitimiza. Essa condição liminar da prostituição faz com que as pessoas que lidam com esse mundo acabem criando condutas e códigos internos, de ação cotidiana, para que seja possível manter suas práticas e mercados atuantes, transitando justamente entre as esferas do legal e ilegal, moral e imoral. Este trabalho tem o intuito de entender, a partir dos códigos e condutas, o funcionamento de alguns espaços de prostituição em três cidades distintas do interior de São Paulo: Íris, Girassol e Gardênia. Em cada uma dessas cidades foi possível ver vários contextos de prostituição, sobretudo em ruas, praças e casas. Nesses espaços foi realizado um trabalho de campo, com entrevistas e análises de registros midiáticos (jornais impressos e virtuais, blogs, folders etc.) .