As epic was considered a culturally comprehensive genre, so Spenser's Faerie Queene and Milton's Paradise Lost provide an effective locus for inquiry into literary representations of body marks in the Renaissance, and hence of the body itself. While grounded on central principles of Renaissance poetics such as delightful teaching, utpictura poesis, and catharsis, Spenser's and Milton's graphic accounts of wounds and diverse other types of body marks show corporeality can have positive import for the soul and heroic identity, just as they are shaped in part by bodily experienees. This dissertation thus reconsiders the widespread assumption that early moderns primarily viewed the body as a subservient yet sometimes threatening container for the soul.... / Une épopée fut culturellement considérée comme un vaste genre: The FaerieQueene, et Paradise Lost, de Spenser et Milton, sont pertinents pour l'étude desreprésentations littéraires des marques corporelles durant la Renaissance, et du corps.Basées sur les principes de la poésie de l'époque, comme l'enseignement délicieux, utpictura poesis, et la catharsis, les explications graphiques de blessures et autres cicatricesde Spenser et Milton montrent que la matérialité peut avoir une portée positive sur l'âmeet l'identité héroïque: elles sont formées par des expériences corporelles.

The thesis has two parts. Part One surveys the debate on how to define Christian obedience and Milton�s prose contributions to that discourse. In the century leading up to Milton�s prose writings there was much debate in England over how to define spiritual obedience. Civil authorities argued that matters of religion fell within state jurisdiction and that an individual�s spiritual obedience should be subject to outward scrutiny and external control; but these definitions were contested by Protestant reformers. Chapter One traces the issue up to Milton�s contributions. Chapter Two traces Milton�s thinking about obedience, spiritual and secular, through his own prose writings: Milton defines obedience as a responsible freedom which requires continual critical assessment of authority. In reaction to the political and ecclesiastical developments of his own time, Milton places increasing emphasis on the role of the individual in defining and expressing obedience to God by means of scriptural study and open discussion. Milton argues that liberty is a necessary pre-condition for giving true obedience to God, and this idea comes to the fore in the later prose tracts, which respond to political and ecclesiastical developments that Milton interpreted as threatening the individual�s liberty of conscience. Part Two examines Paradise Regained (1671), in which Milton advances his interpretation of obedience through his characterisation of the Son of God. Chapter Three shows how Milton links those forms of Christian obedience which he rejects in his prose writing to either Satan or satanic influence. Through his depiction of the Son�s responses to Satan, Milton indicates that Satan�s versions of obedience are designed to distract the Son, and any other believer, from giving proper obedience to God. Chapter Four traces how Milton�s depiction of the Son of God demonstrates his understanding of the right reasons for, and ways of, giving proper obedience to God. The Son�s firm obedience is a state of mind and comprises knowledge of God through scriptural study, conversation and meditation. This exemplary obedience is motivated by an appreciation for and desire to participate in God�s glory (ie., Creation), and Milton indicates that it is this appreciation of divine glory that enables the Son of God to successfully resist Satan�s temptations. Chapter Five examines Milton�s final episode, the pinnacle temptation, in terms of the obedience which he has approved throughout the poem. This chapter addresses Milton�s handling of the reader�s expectations for this scene, and the symbolic language and setting of the pinnacle episode. Unlike any other writers on the temptations in the wilderness, Milton invests the Son�s victory (and Satan�s defeat) on the pinnacle with symbolic power by depicting the Son standing in firm obedience to God. Thus Milton presents his reader with the definitive expression of humanity�s obedience to God: the Son�s stand is a symbolic return to the "Godlike erect" stance ascribed to prelapsarian humanity in Paradise Lost (PL, IV.289), and with this firm, upright obedience Milton shows the rest of humanity how to regain Paradise.

Thesis (doctorat d'Etat)--Université d'Aix Marseille I, 1979. / Includes indexes. Includes bibliographical references (v. 3, p. 1399-1454).

Thesis (M.B.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 88).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (doctorat d'Etat)--Université d'Aix Marseille I, 1979. / Includes indexes. Bibliography: v. 3, p. 1399-1454.

Thesis (Ph.D.) -- McMaster University, 2001. / Includes bibliographical references. Also available via World Wide Web.

This play demonstrates an interpretation of Nietzsche's philosophy in practice. The main character experiences loss and confusion, however, through this struggle arrives at a discovery of profound truth. If you've ever wondered how to live your life in the best way possible, the main character believes he's found the answer.

Since the rise of individualism in the seventeenth century there has been increasing pressure on individuals to define themselves in the public eye. This has led to the recent phenomena of identity politics and self-branding. Yet how is one's true identity - if such a thing exists - ever expressed externally? How do individuals deal with the inner and outer aspects of identity? These are some of the issues which impinge upon the ethics of authenticity. This thesis investigates the development of the concept of the authentic self from its inception in the modern period to the postmodern. Through an analysis of the various tropes of literary texts, I shall illustrate how the concept of authenticity has travelled and transformed between cultural and temporal contexts. The body of the thesis contains five central chapters. Chapter 1 represents Paradise Lost (1667) as the end of one world and the beginning of another. The "Satanic" trope introduces the contingency of transgression and displacement in regard to authentic self-definition. With the birth of the modern epoch, I argue that the collapse of the epic totality instigated the liberation of self through the process of individuation, yet the corresponding loss of "place" in the social order evoked existential angst. In the second chapter I argue that Daniel Defoe's Robinson Crusoe (1719) is an apposite inclusion in the tradition of St. Augustine's and Jean-Jacques Rousseau's Confessions. Through analysis of the "island" trope I assert that, even given the most perfect conditions of solipsism, the individual remains an inherently social being that retains a primordial compulsion for dialogical inscription of the self. In chapter 3, an analysis of the trope of "voice" as a metonym for ideology in Joseph Conrad's Heart of Darkness (1902) portrays Kurtz and Marlow as opposing sides of the authenticity struggle against the ideological allure of collective and absolute power. Chapter 4 associates Henry Miller's Tropic of Cancer (1934) with the anarchic egocentrism and intense individualism of Max Stirner's philosophy as a means of rebelling against the demands of social collectivism. In this chapter I analyse the "dream" trope in terms of Miller's trademark use of surreal metaphor which, I argue, provides a means of escape from the influence of collective identities. Finally, the fifth chapter will discuss the trope of "image terrorism" in reference to Glamorama (1998). This trope addresses the problemata of the globally destabilising influences of celebrity and terrorism, the tyranny of consumerism, and the Debordian Society of the Spectacle. The chapter raises the question of how, indeed if, in a globalized postmodern world with ever reducing horizons of differentiation, travel remains the last viable option in the pursuit of the authentic self.

Syftet med denna undersökning är att ta reda på vilka svordomar som används mest, vilka huvudsakliga funktioner som svordomarna har, samt vilka engelska svordomar som används och hur de används. Utgångspunkt är Ljungs (2007:40–61) svordomsfunktioner. Materialet är ett avsnitt av dokusåpan Paradise Hotel. Alla svordomar som förekommer i materialet har placerats in i olika kategorier för att sedan analyseras, främst utifrån Ljungs (2007:40–61) forskning om funktioner. Resultatet visar att de svordomar som används mest är fan och jävla. Svordomarna används främst för att förstärka eller betona något. Den engelska svordom som används mest är fucking och även de engelska svordomarna används främst för att förstärka eller betona.