Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 307-325).

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La "rencontre à Naxos " est l'une des nombreuses étapes du parcours aventureux qui jalonne et façonne l'itinéraire mythique de Bacchus.De l'Antiquité romaine à l'époque moderne, elle a nourri et inspiré la littérature et les arts ne cessant de se modifier au cours de treize siècles, dans un long processus d'acculturation et de métamorphoses.La "rencontre" a fait l'objet de nombreuses versions, dans lesquelles le personnage d'Ariane connaît un destin tragique ou heureux.Mais quelle version de la légende les romains vont-ils utiliser et s'agit-il toujours de la troisième version, la plus célèbre, lorsque Bacchus découvre Ariane abandonnée? C'est accompagné de son cortège composé de Ménades, Eros, Pan et de Silène que Bacchus découvre Ariane à Naxos. Il en tombe amoureux, lui offrant de devenir sa compagne et de séjourner avec lui éternellement, auprès des dieux de l'Olympe. Bacchus dévoile l'un de ses multiples visages, celui de la bienveillance et de l'amour. L'image d'Ariane se métamorphose, de simple mortelle elle devient un personnage divin.Au Moyen Âge le mythe sera mainte fois revisité et métamorphosé alors que la Renaissance s'en inspirera à de nombreuses reprises. / "Encounter in Naxos" is one of many steps the adventurous journey that marks ans shapes the mytical route of Bacchus. Fron ancient Rome to modern times, it has nurtured and inspired litterature and the arts not ceasing change over thirteen centuries, in a long process of acculturation and metamorphosis. The meeting has been many versions, in which the character of Ariadne knows a tragic or happy fate.But which version of the legendery Roman-they will use and is it the third version, the moste famous, when Bacchus discovers Ariadne abandoned?This is accompanied by his retenue composed of maenads, Eros, Pan and Bacchus then Bacchus discovered Ariadne auf Naxos. He falls in love, offering to become his wife and stay with him forever with the gods of Olympus. Bacchus reveals one of its many faces, one of kindness and love. The image of Ariadne metamorphosis from mere mortal becomes a divine character.In the Middle Ages the myth be revisited many times and metamorphosed while the Renaissance will inspire many times.

This thesis explores the implications of the relationships between building trade guilds and the pageants they produced in York, and examines this relationship over the two-hundred-year production of the York Cycle. Because this relationship and the reception of any dramatic performance is heavily influenced by context, we need to look closer at the social, political, and economic environment of late medieval York in order to better understand the range of interpretations available to the Cycle's original audience. Doing so also allows us to witness the issues of identity and community that are negotiated throughout these plays. Chapter 1 examines the guilds responsible for most day-to-day construction (the plasters, tilers, and carpenters) and explores the interpretations that the conjunction of guild casting, play text, and historical context invites. The Plasterers' "Creation" deals with issues of labour and political power, economic fluctuations influence representations of family and community in the Tilers' "Nativity," and the Carpenters' "Resurrection" explores issues of integrity and urban corruption, while also representing a struggle for social authority. Chapter Two considers the participation of groups outside of civic jurisdiction, most particularly the Masons, and investigates the ways in which the York Cycle may have cut across boundaries (or united "separate" groups) instead of, or as well as, reinforcing them. Finally, the changing contexts that in turn changed (or re-focused) the meanings of these texts reveal the boundaries over and through which concepts of identity and community were negotiated. / Arts, Faculty of / English, Department of / Graduate

My dissertation investigates the ways in which both medieval and early modern saint plays depict and incite religious conversion through self-aware theatrical techniques. In each of my chapters, I examine one or two popular saint plays from a given period and area (medieval England, medieval France, early modern Spain, and early modern England) and show how each play invites the audience to undergo a spiritual shift parallel to that of the saint protagonist. These playmakers harnessed the affective power and technology of theatrical performance to invite the audience to engage with performed religious conversion in a controlled, celebratory environment and to encourage them to convert toward a more deeply felt Christianity. The plays reconfigured the audience’s sensory and intellectual understanding of Christian theology in order for the audience to recognize spiritual truth within an inherently communal, participatory, and performative space. The plays I examine depend on the audience’s familiarity with theatrical culture and practice in order to distinguish between sincere and insincere religious performance. By making the process of conversion a theatrical performance onstage, these plays could advocate for the theatrical medium as a genuine and effective catalyst for spiritual renewal. In addition to joining the conversation on the nature and goals of early European theatre, my dissertation also argues for the continued intersection between performance studies and conversion studies, demonstrating the ways in which theatrical performance elucidates the ways in which communities can instigate and collectively feel conversion.

The contributions of the Mediaeval Miracle Play to that of the Passion Play of Oberammergau are like those of a parent to a child. Life and form have been inherited but the development has gone far beyond the origin. Yet certain elements have continually been preserved in this same form and life The material for the story of the Oberammergau Play was in the Mediaeval Miracle Play. In both cases the dramatic climax was reached on Good Friday with the gospel of our Lord's death upon the cross. Christ's entry into Jerusalem, the story of His birth, His active career, His Passion, and His Resurrection, all, were united into one play which has remained to the present time.

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Suite au succès commercial des Mystères de Paris (1842-1843) d’Eugène Sue, les marchés littéraires de nombreux pays ont été saturés par un nombre incalculable d’ouvrages qui proposaient d’infinies variations sur le titre du romancier français. À partir d’une étude approfondie de la réception du célèbre roman de Sue et de toute la « littérature des mystères » dont il a été à l’origine en France, en Grèce et en Grande-Bretagne, cette thèse s’interroge sur la place qu’il convient d’accorder, dans l’histoire culturelle, à cette « mystériographie » compulsive qui promettait aux lecteurs de leur révéler les secrets non seulement du monde contemporain, mais aussi de l’histoire, de la science, de la politique etc. Tout en questionnant les conclusions d’une critique prolifique sur le phénomène qui en fait un genre spécifique du domaine romanesque paralittéraire, cette thèse plaide pour une approche plus globale. Pur produit d’une culture médiatique vouée à la représentation du monde, la « mystériographie » se présente comme le creuset d’un nouvel imaginaire de la lecture appelé à devenir dominant avec l’entrée progressive des pays européens, à partir des années 1860, dans la culture de masse : mêlant ancrage dans le réel et sensationnalisme outrancier, la « fiction mystériographique » semblait déjà cristalliser les poétiques qui se situaient au cœur des lectures du plus grand nombre. / Following the global commercial success of The Mysteries of Paris (1842-1843) by Eugene Sue, literary markets were submerged by an incalculable number of works that proposed infinite variations on the title of the French novelist. Studying extensively the reception of Sue's famous novel and the mysterimania that it fired in France, Greece and Great Britain, this thesis questions the place that should be given, in cultural history, to the compulsive publication of mysteries promising their readers to unveil the secrets not only of the world that surrounded them, but also of history, science, politics, and so on. While discussing the conclusions of a prolific research that interprets the phenomenon as a specific novelistic genre of popular literature, this study argues for a more global approach. Pure product of Nineteenth-Century media culture dedicated to the representation of the world, “mysteriography” is the crucible of a new social imaginary of reading which was to become dominant with the gradual entry of European countries in the mass culture, from the 1860s and on : blending perfectly realism and sensation, the “mysteriography” crystallized the poetics which shaped the readings of the greatest number.

Religious Studies & Arabic / D.Litt. et Phil. (Religious Studies)

Un territoire est indéniablement associé à Napoléon et à sa légende dans l'esprit des populations. Il ne s'agit pas de la Corse, lieu de naissance, mais bien de Sainte-Hélène, lieu d’exil, de mort mais aussi de construction de la légende napoléonienne. C'est sur cette île de l'Atlantique sud qu'entre 1815 et 1821 celui qui, pendant plus de vingt ans, a fait trembler l'Europe, vit les dernières années de son existence. Le captif pendant toutes les années de sa détention sur Sainte-Hélène n'est peut-être à aucun autre moment de sa vie si étroitement observé. Cependant, les Français, entre 1815 et 1821, ignorent ce qui se passe sur cette île perdue de l’Atlantique sud. Les nouvelles sur ce personnage sont rares sinon absentes et l'absence d'information véridique sur les événements de l'île est considérable. Ce constat est accentué par la situation de Sainte-Hélène. Il s'agit d'un lieu éloigné, inconnu et difficilement compréhensible pour la grandes majorités des Français du XIXe siècle. Cette absence d'information entraine les plus folles rumeurs. Effectivement, les fausses nouvelles parsèment l'exil de Napoléon, des Français répandent des bruits, prétendent connaître la vérité et la transmettre généralement oralement, plus rarement par l'écrit, aux autres. Si les bruits sont essentiellement émis entre 1815 et 1821 ils se poursuivent au cours des années 1820 et même au-delà par de multiples relais.Nombre de bruits et d'ouvrages offrent de multiples histoires toutes plus sensationnelles les unes par rapport aux autres sur l'exil de Napoléon. Parmi elles, Napoléon s'est évadé de Sainte‑Hélène. De véritables faits ont inspiré les nombreuses théories évasionistes qui fleurissent à partir de 1815. Ainsi, des projets d’enlèvement ont indéniablement été pensés. Néanmoins, aucun des plans n’est mis à exécution, amenant en conséquence un questionnement sur les raisons de l’absence de leur concrétisation, n'ont-ils pas simplement été de simples échanges verbaux entre Bonapartistes ?Enfin, les rumeurs perdurent après 1821 en partie grâce aux arts. En effet, l'internement de Napoléon a beaucoup été représenté par la littérature, la peinture et plus récemment par le cinéma. Par exemple, de très nombreux auteurs du XIXe siècle se sont inspirés du séjour de l'Empereur à Sainte-Hélène de façon plus ou moins évidente et ont réinvesti les éléments constitutifs de la légende.Toutes les rumeurs et les représentations artistiques de la captivité déforment les dernières années de Napoléon. Or, ces représentations altérées restent dans la mémoire collective car elles sont plus faciles à retenir, elles sont de meilleures histoires que la réalité... Et donc, la mythologie fini par altérer la réalité historique. Par exemple, l'idée d’un Napoléon humilié en permanence par les Anglais est ancrée dans la mentalité populaire comme parmi les élites. D'ailleurs cette distorsion de la réalité est une partie intégrante de la légende napoléonienne. Sans l'idée du calvaire de Napoléon à Sainte-Hélène prisonnier des puissances de la Sainte-Alliance et l’image négative de Hudson Lowe, la figure du captif auprès des libéraux et des nationalistes au XIXe siècle n’aurait pas été la même. La légende de Sainte-Hélène est donc une partie fondamentale de l’histoire napoléonienne. / A territory is undeniably associated with Napoleon and his legend in the minds of the peoples. It is not a question of Corsica, place of birth, but of Saint Helena, place of exile, of death but also of construction of the napoleonic legend. It is on this island of the South Atlantic that between 1815 and 1821 he who, during more than twenty years, made tremble Europe, saw the last years of its existence. The captive during all the years of his detention on St. Helena Napoléon is closely observed. However, the French, between 1815 and 1821, do not know what is happening on this lost island of the South Atlantic. News about this character is rare if not absent and the lack of truthful information about the events of the island is considerable. This observation is accentuated by the situation of St. Helena. It is a distant place, unknown and difficult to understand for the great majority of the French of the nineteenth century. This lack of information leads to the wildest rumors. Indeed, the false news strew the exile of Napoleon, French spread noises, claim to know the truth and to transmit it generally orally, more rarely in writing, to others. If the noises are essentially emitted between 1815 and 1821 they continue during the 1820s and even beyond by multiple relays. Many noises and books offer multiple stories all about Napoleon's exile. Among them, Napoleon escaped from Saint Helena. Real facts have inspired the many evasive theories that flourished from 1815. Thus, kidnapping projects have undeniably been thought out. Nevertheless, none of the plans are put into execution, leading consequently a questioning on the reasons of the absence of their concretization. Maybe, they were simple verbal exchanges between Bonapartists? Finally, rumors endure after 1821 partly thanks to the arts. Indeed, the internment of Napoleon was much represented by literature, painting and more recently by cinema. For example, many nineteenth-century writers drew inspiration from the Emperor's stay in Saint Helena in a more or less obvious way and re-invested the constituent elements of the legend. All the rumors and artistic representations of captivity distort the last years of Napoleon. However, these altered representations remain in the collective memory because they are easier to remember, they are better stories than reality ... And so, mythology ended up altering the historical reality. For example, the idea of ​​a Napoleon permanently humiliated by the British is rooted in the popular mentality as among the elites. Moreover this distortion of reality is an integral part of the Napoleonic legend. Without the idea of ​​Napoleon's ordeal on St. Helena prisoner of the Holy Alliance and the negative image of Hudson Lowe, the figure of the captive among liberals and nationalists in the nineteenth century would not have been the same. The legend of St. Helena is therefore a fundamental part of Napoleonic history.