My doctoral dissertation examines the relationship between the sacred and literature, explores how the Bible has influenced the literary production of Antonia Pozzi, Cristina Campo, and Margherita Guidacci, and reveals that each author had a distinctive way of dealing with the Sacred Book. In the first chapter I retrace the studies on the topic of Bible and Literature, and I show how literary critics only recently have begun to work intensively on them (in the past the "historical school" founded by De Sanctis and followed by Croce devoted few studies to the subject of the sacred and even so, only to those periods where the influence of the Scriptures was clear and indeed obvious, such as the Middle Ages and the Counter-Reformation). In the same chapter I explain my reason for deciding to study Pozzi, Campo, and Guidacci. These three authors share analogous biographical experiences and episodes that deeply influenced their lives (the presence of an authoritarian father, family losses, and sad love experiences). Moreover, their studies (specifically, European writers and philosophers) were of the same nature. I demonstrate that, although contemporary Italian literature is heterogeneous and varied, these three women astonishingly shared the same background that explains their concentration on the sacred. In the following chapter I consider the writers individually, in order to examine the path that led them to a dialogue with the religious and the sacred. In Pozzi, the sacred is something that lies beyond human understanding and, for all her attempts to reach it, she always fails due to her incapacity to fully free helself from human passions. In Campo and in Guidacci on the other hand, the sacred search is always consistent and, notwithstanding some missteps and second thoughts, they are able to basically fulfill their task. After the study of their ideas, in the last chapter I move to the poetical language used by these writers. It has been very interesting to see what is essentially the same vocabulary appearing again and again in our poets. As it is known, the biblical language is based on symbols that evoke a union between the contingent and the Absolute. Pozzi, Campo, and Guidacci were not only able to interpret the biblical symbology but they also used some of those terms in their poems; specifically I focused my attention on the recurrence of five words-symbols: assenza, deserto, nulla, fiore, luce (absence, desert, emptiness, flower, light). It is really significant that the writers in question use the same biblical symbols as poetical words: it is a vocabulary that ties together literary and religious experience. Their connection is also strengthened by the reference and the predilection for same specific books of the Bible, such as Job and The Lamentations of Jeremiah the Prophet for Pozzi, and the Gospels, Psalms, and The Song of Songs for Campo and Guidacci. In my analysis I show that already in the desert we can see the first signs of Pozzi's weakness: In this solitary place, where the soul must deal with herself to reach the emptying of earthly passions, Pozzi got lost and fell into the error of looking backwards, to the beloved she had left. On the other hand, Campo and Guidacci were able to reach the spiritual light, so their journey through biblical symbolism can be finally considered complete. In other words, Pozzi's path towards the Scripture is fulfilled piecemeal and never ends in it, while in Campo and Guidacci the Scripture becomes an integral part of their lives, so they are constantly enlightened by the Word of God, while Pozzi misses this Light and sinks into the darkness of death. Finally, considering the fact that they have been relatively isolated from the literary world until recently, I do not believe they were rejected by a misogynist society, but rather by the fact that those years were demanding an active social participation. The women treated here never made that choice, instead they dedicated themselves to the search for the sacred, an issue not "present" in the years in which they lived. So I think that it was this combination of poetic themes and lifestyle choices that excluded them. In conclusion my work, which could have considered many other poets, confirms the point of view from which I started: the theme of the sacred in the twentieth century literature does not seem to present itself as a school or current, but is characterized by its inevitable uniqueness so that each poetic experience is described for its extraordinary authenticity and uniqueness. If anything, we can talk about similarities and links between these poets based on common readings that provide the basis on which to develop their own religious experiences.

Thesis (M.A.)--Indiana University, 2009. / Title from screen (viewed on August 28, 2009). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Eric L. Saak. Includes vita. Includes bibliographical references (leaves 540-548).

Le Père Jésuite François Garasse reste un écrivain du premier XVIIe siècle assez connu et peu étudié en dépit de son abondante production polémique, publiée entre 1614 et 1626. Son œuvre est réputée illisible, par les valeurs qu’elle défend et la violence qu’elle déploie, par sa longueur et son manque de consistance, par son style même, enfin. Cependant, les travaux sur le libertinage ont conduit à s’intéresser à la figure du libertin telle qu’il la dessine dans sa Doctrine curieuse. De telles études invitent à reconsidérer le Père Garasse, qui apparaît comme le jésuite polémiste le plus lu et le plus connu entre 1617 et 1626, et comme un prédicateur à succès. L’ensemble de son œuvre, cependant, ne fait encore à ce jour l’objet d’aucune étude spécifique. Le Père Garasse, qui participe à l’ensemble des querelles de son temps, est étudié ponctuellement, de façon fragmentaire, et n’est que très peu analysé en tant que tel. Ce projet se propose d’inverser les perspectives, en s’intéressant au Père Garasse, non pas sous l’angle du libertinage ou du jansénisme naissant, mais sous l’angle qui est le sien, celui de la Réforme catholique et de ses combats, celui de la Compagnie de Jésus et de ses intérêts. Il s’agit d’envisager son œuvre polémique dans son ensemble et pour elle-même, d’un point de vue double, philosophique, théologique et moral d’une part, littéraire d’autre part ; il s’agit de s’attacher à établir s’il existe une pensée du Père Garasse, et à déterminer les formes par lesquelles elle s’énonce. Son œuvre, essentiellement polémique, est également à étudier dans le rapport qu’elle tisse avec les autres œuvres de son temps, qu’il s’agisse de rapports d’opposition, ou de filiation. Ce projet vise donc à mettre en perspective l’œuvre du Père Garasse, à la replacer dans le contexte de son époque, polémique et rhétorique, pour mieux en dégager la spécificité littéraire et philosophique. / Father François Garasse remains a jesuit writer of the first seventeenth century quite known and little studied, despite its abundant controversy production, published between 1614 and 1626.His work is deemed illegible, by the values it defends and the violence it deploys, by its length and lack of consistency, by its style, finally. However, works on libertinism led to interest in the figure of the libertine as he draws it in his Doctrine curieuse . Such studies invite to reconsider Father Garasse, which appears as the jesuit polemicist most read and most famous between 1617 and 1626, and as a successful preacher. His work, however, has not been studied yet in a whole. Father Garasse, who participates in all the quarrels of his time, is the subject to intermittent, piecemeal analysis. This project aims to reverse perspectives, focusing father Garasse, not in terms of libertinism or nascent Jansenism, but from his angle : Catholic Reformation and its fighting, Society of Jesus and its interests. His polemical work will be considered as a whole and for herself, in a double point of view, philosophical, theological and moral on one hand, and literary on the other hand ; the aim is to establish if there is a thought of Father Garasse, and to identify the ways in which it is stated. The link between his work, essentially polemical, and other works of his time will also be considered, whether adversarial or affiliation. This project aims to put into perspective the work of Father Garasse, to replace it in the polemic and rhetoric context of his time, in order to better identify his literary and philosophical aspect.

This thesis investigates the relations between romance and texts of religious instruction in England between c.1170–c.1330, taking as its principal textual corpus the exceptionally rich literary traditions of insular French romance and religious writing that subsist during this period. It argues that romance is a mode which engages closely with religious and ethical questions from a very early stage, and demonstrates the discourses of opposition in which both kinds of text participate throughout the period. The thesis offers substantial readings of a number of neglected insular French religious texts of the thirteenth century, including Robert Grosseteste's Chasteau d'Amour, John of Howden's Rossignos, and Robert of Gretham's Miroir, alongside new readings of romances such as Gui de Warewic and Ipomedon. This juxtaposition of romance narrative and religious instruction sheds new light onto both kinds of text: romance emerges as a mode with deep-rooted didactic qualities; insular French religious literature is shown to be intensely concerned with the need to compete with romance’s entertaining appeal in literary culture. This oppositional discourse profoundly affects the form of instructional writing and romance alike. The discussion of the interactions between insular French romance and instructional literature presented here also serves as a new pre-history of Middle English romance. The final chapter of the thesis offers several new readings of texts from the Auchinleck manuscript, including the canonical romance Sir Orfeo and the neglected, puzzling Speculum Gy de Warewyk. These readings demonstrate that fourteenthcentury romance intelligently adapts the material it inherits from Francophone literature to a new cultural situation. In these acts of reformation, Middle English romance reveals itself as a discursive space capable of accommodating a wide range of ethical and ideological affiliations; the complex negotiations between romance and instructional literature in the preceding centuries are an important cultural condition for this widening of possibilities.

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The thema of the diploma work is the language analysis of baroque religious text of V. V. J. Klugar - Catechism (1746). The diplome oves the characteristic of the phonological side of its language. First we informe generally about the baroque, about the life and work Klugar. Then we compare the Czech language in the epoch of humanism and baroque and we describe the important grammar and too the ungrammatical phonological terms. Next we analyze the separate texts (dialogical and monological) where we study language in phonetics. We works with copy of the origin deposit in the archiv in the museum in the Jaroměř, sg. Ač 6. The aim of the analysis is to state the level of Czech language in the 18 century and the level of the religious texts on the base of discoveries and graphic data.

La Chronique universelle de la Création jusqu'à Constantin, demeurée à ce jour inédite dans sa version occitane complète, voit probablement le jour en terre catalane au tout début du quatorzième siècle, avant d'être traduite en occitan et en italien. Copié aux confins du Languedoc et de la Provence, le manuscrit D présente une langue influencée par le catalan et teintée de français. Quant au manuscrit G, copié en Béarn et bien connu sous le nom de Récits d'Histoire Sainte en Béarnais depuis son édition par Lespy et Raymond, en plus de conserver le seul texte littéraire béarnais de cette époque, il a connu une longévité exceptionnelle puisqu'il fut en usage jusqu'au dix-huitième siècle. / The Chronique universelle de la Création jusqu’à Constantin, which has remained unpublished to this day in its complete Occitan version, probably appeared in Catalonia at the beginning of the fourteenth century, before being translated into Occitan and Italian. Copied on the borders of Languedoc and Provence, Manuscript D contains language that has been influenced by Catalan tinged with French. As for Manuscript G, which was copied in Bearn and has been well knownunder the name of Récits d’Histoire Sainte en Béarnais since it was published by Lespy and Raymond, in addition to preserving the only Bearnese literary text from this period, it is exceptional for the length of time that it was used, that is, up until the eighteenth century.

The work that the reader now has in hand corresponds to a story about the Sephardic culture that spread after the Atlantic Diaspora in the 15th century. He was drafted from the yarn left by Antônio José da Silva, nicknamed "the Jew", in four of his operas, Vida de D. Quixote de La Mancha, Esopaida, ou Vida de Esopo, Os Encantos de Medéia e Anfitrião, ou Júpiter, e Alcmena, presented between 1733 and 1736 at the Teatro do Bairro Alto in Lisbon. The operas are in tune comedies that bring, between the lines, marks the time when the French lived, as well as the previous temporalities stays, mixed to established models of literature and mythology. Through them, the author suggests his dissatisfaction with society in which was inserted, by means of the criticism of the Inquisition, to justice, to customs and, especially, to religion, leaving evidence of cryptic religiosity subtext practiced by Jewish cabalists. The objective of this work is to analyze the escamoteados cabalistic aspects in these texts, because we understand that they are constituent part of the worldview of the new Christians judaizers. To this end, resorted to the categories of analysis of the Cultural history, making use of changes in scales of observation, indicting and method of comparison of elements present in the texts with the more general aspects of law and Jewish mysticism. The research reveals that, in addition to the primary intention of the comedies of the Jew, to laugh at the Lisbon society through satire of customs and institutions, there is a message of resistance directed to new Christians judaizers. The research is structured in three chapters: Antônio José da Silva: um Cavaleiro Andante na Lisboa do Século XVIII; A Religião da Cavalaria Andante; e Os Recônditos Arcanos da Cavalaria Andante. In the first chapter, we sought to relate the character Don Quixote to the figure of the knights errant Kabbalists, as well as introduce customs and references to Jewish mystical elements present in the Opera Vida de D. Quixote de La Mancha, the first comedy of the harvest of the Jew. The second chapter reflects on the Religion of the Cavalry Andante in allusion to the "law of Moses", as she was known the cryptic form practiced religiosity by new Christians, constantly identified in inquisitorial documents and, consequently, in the literature of centuries of prohibition of Jewish worship. Finally, Os Recônditos Arcanos da Cavalaria Andante which made an interpretation of evidence identified in the operas in the light of Jewish mysticism, still little explored aspect of Sephardic culture. / O trabalho que o leitor agora tem em mãos corresponde a uma história sobre a cultura sefardita que se difundiu após a Diáspora Atlântica no século XV. Ele foi elaborado a partir dos fios deixados por Antônio José da Silva, cognominado O Judeu , em quatro de suas óperas, Vida de D. Quixote de La Mancha, Esopaida, ou Vida de Esopo, Os Encantos de Medéia e Anfitrião, ou Júpiter, e Alcmena, apresentadas entre os anos de 1733 e 1736 no Teatro do Bairro Alto em Lisboa. As óperas são comédias musicadas que trazem, nas entrelinhas, as marcas do tempo em que o comediógrafo viveu, bem como as permanências de temporalidades anteriores, misturadas aos modelos já consagrados da literatura e da mitologia. Através delas, o autor deixa transparecer sua insatisfação com a sociedade em que estava inserido, por meio das críticas à inquisição, à justiça, aos costumes e, especialmente, à religião, deixando subentendidos indícios de uma religiosidade críptica praticada pelos judeus cabalistas. O objetivo do trabalho é analisar os aspectos cabalísticos escamoteados nesses textos, por entender que eles são parte constituinte da cosmovisão dos cristãos-novos judaizantes. Para tal, recorreu-se às categorias de análise da História Cultural, fazendo uso da variação de escalas de observação, do método indiciário e da comparação dos elementos presentes nos textos com os aspectos mais gerais da lei e da mística judaica. Desvenda-se com a pesquisa que, para além da intenção primordial das comédias do Judeu, de fazer rir à sociedade lisboeta através da sátira dos costumes e das instituições, existe uma mensagem de resistência direcionada aos cristãos-novos judaizantes. A pesquisa está estruturada em três capítulos: Antônio José da Silva: um Cavaleiro Andante na Lisboa do Século XVIII; A Religião da Cavalaria Andante; e Os Recônditos Arcanos da Cavalaria Andante. No primeiro capítulo, buscou-se relacionar o personagem D. Quixote à figura dos cavaleiros andantes cabalistas, assim como apresentar costumes e referências a elementos da mística judaica presentes na ópera Vida de D. Quixote de La Mancha, primeira comédia da seara do Judeu. O segundo capítulo reflete sobre a Religião da Cavalaria Andante em alusão à Lei de Moisés , como era conhecida a religiosidade praticada de forma críptica pelos cristãos-novos, constantemente identificada nos documentos inquisitoriais e, consequentemente, na literatura dos séculos de proibição do culto judaico. Por fim, Os Recônditos Arcanos da Cavalaria Andante no qual se fez uma interpretação de indícios identificados nas óperas à luz do misticismo judaico, aspecto ainda pouco explorado da cultura dos sefarditas.

В работе путем теоретического исследования метода перевода религиозной лексики создаются практические материалы, подходящие для китайских учащихся. Сначала анализируются трудности перевода русской религиозной литературы, затем анализируются трудности и методы перевода религиозной лексики на теоретической основе; на основании всех теоретических исследований создаются два глоссария религиозной лексики и два набора упражнений для китайских учащихся на разных этапах. Полученные результаты можно применить к реальному преподаванию в китайских университетах. / In the work, through a theoretical study of the method of translating religious vocabulary, practical materials are created that are suitable for Chinese students. First, the difficulties of translating Russian religious literature are analyzed, then the difficulties and methods of translating religious vocabulary are analyzed on the theoretical basis; Based on all theoretical research, two glossaries of religious vocabulary and two sets of exercises for Chinese students at different stages are created. The results obtained can be applied to real teaching in Chinese universities.

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