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This dissertation offers a comparative study of two key figures of the Italian Renaissance, the ambassador and the courtesan, and the place of their bodies in relation to the Renaissance body politic. In studying myriad textual spaces of the body natural within writings by and about these two seemingly opposite figures, I find that these spaces range from the material to the metaphorical. In the Renaissance material spaces were increasingly allocated to both figures, urban confinement for the prostitute, and the establishment of the embassy for the ambassador. Metaphorically, the prostitute becomes the "body" of the state, while the ambassador personifies its "mind". My dissertation proves that by allocating such material and metaphorical spaces to these figures, the early modern state effectively denies them the possibility of ownership over their own bodies. This ownership, however, is rhetorically reclaimed, I argue, through the bodies of their own texts. / Romance Languages and Literatures

This MA thesis focuses on four different Czech translations of William Shakespeare's narrative poem A Lover's Complaint (Antonín Klášterský 1923, Jarmila Urbánková 1997, Jiří Josek 2008, Martin Hilský 2009). The first part of the thesis characterizes the development of and changes in the Anglo-Saxon critical reception of this much-neglected work from its first publication up until the present day. Further, it shows the interdependence between the position of A Lover's Complaint in Shakespeare's canon and the interpretation of the poem's meaning. The second part focuses on the Czech critical reception and compares it to the Anglo-Saxon one. This part also introduces the four translators with respect to their literary and translation activities and describes the poetic and translation norms prevalent at the time of their careers. In the third (the empirical) part, the focus is on formal and semantic analysis of the source text, as well as of the individual translations. On the basis of these analyses it is examined to what extent the translations correspond to the source text; what shifts, losses or enrichments occur as a result of each translation. The individual translation methods are compared and contrasted. The ultimate objective is to describe the poetics of each translation and its...

In using the doctrine of the Incarnation as a lens to approach the devotional poetry of seventeenth-century Britain, ‘“And the Word was made flesh”: The Problem of the Incarnation in Seventeenth-Century Devotional Poetry' finds this central doctrine of Christianity to be a destabilising force in the religious controversies of the day. The fact that Roman Catholics, the Church of England, and Puritans all hold to the same belief in the Incarnation means that there is a central point of orthodoxy which allows poets from differing sects of Christianity to write devotional verse that is equally relevant for all churches. This creates a situation in which the more the writer focuses on the incarnate Jesus, the less ecclesiastically distinct their writings become and the more aware the reader is of how difficult it is to categorise poets by the sects of the day. The introduction historicises the doctrine of the Incarnation in Early Modern Europe through presenting statements of belief for the doctrine from reformers such as Martin Luther, John Calvin, and Huldryk Zwingli in addition to the Roman Catholic decrees of the Council of Trent and the Church of England's ‘39 Articles'. Additionally, there is a further focus on the Church of England provided through considering the writings of Richard Hooker and Lancelot Andrewes amongst others. In the ensuing chapters, the devotional poetry of John Donne, Aemilia Lanyer, George Herbert, Robert Herrick, and Richard Crashaw is discussed in regards to its use of the Incarnation and incarnational imagery in orthodox though diverse manners. Their use of words to appropriate the Word, and their embrace of the flesh as they approach the divine shows the elastic and problematic nature of a religion founded upon God becoming human and the mystery that the Church allows it to remain.

The Mirror for Magistrates, the collection of de casibus complaint poems compiled by William Baldwin in the 1550s and expanded and revised between 1559 and 1610, was central to the development of imaginative literature in the sixteenth and early seventeenth century. Additions by John Higgins, Thomas Blenerhasset and Richard Niccols extended the Mirror’s scope, shifted its focus, and prolonged its popularity; in particular, the 1587 edition of the original text with Higgins’s ancient British and Roman complaint collections profoundly influenced the work of Spenser and Shakespeare. However, while there has been a recent resurgence of critical interest in the editions of 1559 and its 1563 ‘Second Part’, the later additions are still largely neglected and disparaged, and the transmission of the original text beyond 1563 has never been fully explored. Without an understanding of this transmission and expansion, the importance of the Mirror to sixteenth-century intellectual culture is dramatically distorted. Higgins, Blenerhasset and Niccols’s contributions are invaluable witnesses to how verse history was conceptualised, written and read across the period, and to the way in which the Mirror tradition was repeatedly reinterpreted and redeployed in response to changing contemporary concerns. The Mirror corpus encompasses topical allegory, nationalist polemic, and historiographical scepticism. What has not been recognised is the complex interaction of these themes right across the Mirror’s history. This thesis provides a comprehensive reassessment of the Mirror’s expansion, transmission, and appropriation between 1559 and 1610, focusing in particular on Higgins, Blenerhasset, and Niccols’s work. By comparing editions and tracing editorial revisions, the changing contexts and attitudes which shaped the early texts’ development are explored. Higgins, Blenerhasset, and Niccols’s contributions are analysed against this backdrop for the first time here, both within their own literary and historiographical contexts, and in dialogue with the early editions. A broad reading of the themes and concerns of these recensions, rather than the limited approach which has characterised previous scholarship, takes account of their depth and variety, and provides a new understanding of the extent of the Mirror’s influence and ubiquity in early modern literary culture.

In his most popular prose work, Mary Magdalens Funeral Teares (1591), English Jesuit Robert Southwell adapts the Mary Magdalene tradition by incorporating the meditative practices of St. Ignatius Loyola coupled with the Petrarchan language of poetry. Thus, he creates a prose work that ministered to Catholic souls, appealed to Protestant audiences, and initiated the literature of tears in England. Southwell readapts the traditional image of Mary Magdalene for a Catholic Early Modern audience by utilizing the techniques of Jesuit meditation, which later flourished in the weeper texts of Richard Crashaw and George Herbert. His vividly imagined scenes also employ the Petrarchan and Ovidian language of longing and absence and coincide with both traditional and mystic early church writers such as Bernard and Augustine. Through this combination, Southwell’s Marie Magdalens Funeral Teares resonated with Catholics deprived of both ministry and the presence of Christ in the Eucharist. These contributions solidify Southwell’s place as a pivotal figure in the religious and literary contexts of Early Modern England.

Este trabalho percorre uma história das vozes poéticas da literatura luso-brasileira impostadas no improviso poético desde os trovadores medievais até os poetas do Brasil Colônia. Dessa maneira, procura responder se é possível identificar uma continuidade histórica do improviso na poesia lusófona, tendo como objetivo reconstruir historicamente a tradição do improviso poético luso-brasileiro. Essencialmente bibliográfica, a exposição da pesquisa encontra-se dividida em quatro capítulos. O primeiro aborda os princípios epistemológicos para a integração das poéticas orais e populares no interior da literatura luso-brasileira, constituindose como base epistêmica para o desenvolvimento da pesquisa; o segundo, intitulado E se os trovadores medievais fossem repentistas..., volta-se para os trovadores galego-portugueses, enfocando, sobretudo, as cantigas em desafio denominadas de tenções; o terceiro trata das relações entre a poesia popular e tradicional e os poetas cultos do renascimento ibérico com destaque a Camões; o quarto, por fim, versa, a partir das contribuições do capítulo Poetas repentistas da inacabada História da literatura brasileira, de Joaquim Norberto de Sousa Silva (2002), do uso da viola como importante elemento de sociabilização no período colonial brasileiro, em que avultam as práticas poéticas improvisatórias de Gregório de Matos e Domingos Caldas Barbosa Nesses capítulos, o elo de ligação se constituiu na reconstrução histórica do improviso poético, sem apregoar uma origem no sentido etnocêntrico que situa uma cultura como superior a outra, ou em que o improviso, a oralidade e a poesia popular aparecem como resquícios de uma sociedade mais evoluída que as abandonou. Ademais, segue-se o princípio de construir uma análise comparatista e historicizante, procurando observar algumas produções poéticas do passado que hoje só existem em papel e outrora poderiam ter sido compostas e executadas em performance através de experiências contemporâneas como a poesia popular e a cantoria nordestina. Entre referências, destacam-se Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen e Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) e Zumthor (1993, 2010). / This papper tries to make a history of the poetic voices of Luso-Brazilian literature imposed in the poetic improvisation from the medieval troubadours to the poets of Brazil Colony. In this way, we try to answer if it is possible to identify a historical continuity of improvisation in lusophone poetry, with the objective of reconstructing historically the Luso-Brazilian poetic improvisation tradition. Essentially bibliographic, the exposition of the research is divided into four chapters. The first one deals with epistemological principles for the integration of oral and popular poetics within the Luso-Brazilian literature, constituting itself as an epistemic basis for the development of research; the second, entitled And if the medieval troubadours were repentistas ..., turns to the Galician-Portuguese troubadours, focusing, above all, the ditties in challenge called tenções; the third deals with the relations between popular and traditional poetry and the educated poets of the Iberian Renaissance, with a special mention of Camões; the fourth, finally, is based on the contributions of the chapter Improvisational Poets (Repentistas) on the unfinished History of Brazilian Literature by Joaquim Norberto de Sousa Silva (2002), highlighting the viola as an important element of socialization in the Brazilian colonial period, in which the improvisatory poetic practices of Gregório de Matos and Domingos Caldas Barbosa increase In these chapters, the linkage was constituted in the historical reconstruction of poetic improvisation, but without proclaiming an origin in the ethnocentric sense that places one culture as superior to another, in which improvisation, orality and popular poetry appear as remnants of a society more evolved that abandoned them. In addition, it follows the principle of constructing a comparative and historicizing analysis, looking for to observe some poetic productions of the past that now only exist in paper and could once have been composed in performance through contemporary experiences like the popular poetry and the northeastern cantor. Among references, we highlight Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) and Zumthor (1993, 2010). / Este estudio busca hacer una historia de las voces poéticas de la literatura luso-brasileña impostadas en el improviso poético, desde los trovadores medievales hasta los poetas de Brasil Colonia. Con ello, se procura responder si es posible identificar una continuidad histórica del improviso en la poesía lusófona, cuyo objetivo es reconstruir históricamente la tradición del improviso luso-brasileño. Esencialmente bibliográfica, la exposición de la pesquisa se encuentra dividida en cuatro capítulos. Lo primero, aborda los principios epistemológicos para la integración de las poeticas orales y populares en interior de la literatura luso-brasileña, constituyéndose como base epistémica para el desarrollo de la pesquisa; lo segundo, intitulado “Y si los trovadores medievales fueran repentistas…”, se vuelve hacía los trovadores gallego-portugueses, enfocando, además, las cantigas en desafío denominadas de tenciones; lo tercero trata de las relaciones entre la poesía popular y tradicional y los poetas cultos del renacimiento ibérico con destaque a Camões; lo cuarto, finalmente, versa, a partir de las contribuciones del capítulo Poetas repentistas de la inacabada Historia de la Literatura Brasileña, de Joaquim Norberto de Sousa Silva (2002), destacando la viola como importante elemento de sociabilización en el periodo colonial brasileño, en que se abultan las practicas poético-improvisatorias de Gregório de Matos y de Domingos Caldas Barbosa En esos capítulos, el eslabón se constituye en reconstrucción histórica del improviso poético, pero sin propalar un origen en el sentido etnocéntrico que sitúa una cultura como superior a otra, en que el improviso, la oralidad y la poesía popular aparecen como resquicios de una sociedad más evolucionada que las ha abandonado. Además, se sigue el principio de construir un análisis comparatista e historicizante, procurando observar algunas producciones poéticas del pasado que hoy solo existen en papel y otrora podrían haber sido compuestas en performance por medio de experiencias contemporáneas como la poesía popular y la cantoría nordestina. Entre las referencias, se destacan Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) y Zumthor (1993, 2010).

Este trabalho percorre uma história das vozes poéticas da literatura luso-brasileira impostadas no improviso poético desde os trovadores medievais até os poetas do Brasil Colônia. Dessa maneira, procura responder se é possível identificar uma continuidade histórica do improviso na poesia lusófona, tendo como objetivo reconstruir historicamente a tradição do improviso poético luso-brasileiro. Essencialmente bibliográfica, a exposição da pesquisa encontra-se dividida em quatro capítulos. O primeiro aborda os princípios epistemológicos para a integração das poéticas orais e populares no interior da literatura luso-brasileira, constituindose como base epistêmica para o desenvolvimento da pesquisa; o segundo, intitulado E se os trovadores medievais fossem repentistas..., volta-se para os trovadores galego-portugueses, enfocando, sobretudo, as cantigas em desafio denominadas de tenções; o terceiro trata das relações entre a poesia popular e tradicional e os poetas cultos do renascimento ibérico com destaque a Camões; o quarto, por fim, versa, a partir das contribuições do capítulo Poetas repentistas da inacabada História da literatura brasileira, de Joaquim Norberto de Sousa Silva (2002), do uso da viola como importante elemento de sociabilização no período colonial brasileiro, em que avultam as práticas poéticas improvisatórias de Gregório de Matos e Domingos Caldas Barbosa Nesses capítulos, o elo de ligação se constituiu na reconstrução histórica do improviso poético, sem apregoar uma origem no sentido etnocêntrico que situa uma cultura como superior a outra, ou em que o improviso, a oralidade e a poesia popular aparecem como resquícios de uma sociedade mais evoluída que as abandonou. Ademais, segue-se o princípio de construir uma análise comparatista e historicizante, procurando observar algumas produções poéticas do passado que hoje só existem em papel e outrora poderiam ter sido compostas e executadas em performance através de experiências contemporâneas como a poesia popular e a cantoria nordestina. Entre referências, destacam-se Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen e Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) e Zumthor (1993, 2010). / This papper tries to make a history of the poetic voices of Luso-Brazilian literature imposed in the poetic improvisation from the medieval troubadours to the poets of Brazil Colony. In this way, we try to answer if it is possible to identify a historical continuity of improvisation in lusophone poetry, with the objective of reconstructing historically the Luso-Brazilian poetic improvisation tradition. Essentially bibliographic, the exposition of the research is divided into four chapters. The first one deals with epistemological principles for the integration of oral and popular poetics within the Luso-Brazilian literature, constituting itself as an epistemic basis for the development of research; the second, entitled And if the medieval troubadours were repentistas ..., turns to the Galician-Portuguese troubadours, focusing, above all, the ditties in challenge called tenções; the third deals with the relations between popular and traditional poetry and the educated poets of the Iberian Renaissance, with a special mention of Camões; the fourth, finally, is based on the contributions of the chapter Improvisational Poets (Repentistas) on the unfinished History of Brazilian Literature by Joaquim Norberto de Sousa Silva (2002), highlighting the viola as an important element of socialization in the Brazilian colonial period, in which the improvisatory poetic practices of Gregório de Matos and Domingos Caldas Barbosa increase In these chapters, the linkage was constituted in the historical reconstruction of poetic improvisation, but without proclaiming an origin in the ethnocentric sense that places one culture as superior to another, in which improvisation, orality and popular poetry appear as remnants of a society more evolved that abandoned them. In addition, it follows the principle of constructing a comparative and historicizing analysis, looking for to observe some poetic productions of the past that now only exist in paper and could once have been composed in performance through contemporary experiences like the popular poetry and the northeastern cantor. Among references, we highlight Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) and Zumthor (1993, 2010). / Este estudio busca hacer una historia de las voces poéticas de la literatura luso-brasileña impostadas en el improviso poético, desde los trovadores medievales hasta los poetas de Brasil Colonia. Con ello, se procura responder si es posible identificar una continuidad histórica del improviso en la poesía lusófona, cuyo objetivo es reconstruir históricamente la tradición del improviso luso-brasileño. Esencialmente bibliográfica, la exposición de la pesquisa se encuentra dividida en cuatro capítulos. Lo primero, aborda los principios epistemológicos para la integración de las poeticas orales y populares en interior de la literatura luso-brasileña, constituyéndose como base epistémica para el desarrollo de la pesquisa; lo segundo, intitulado “Y si los trovadores medievales fueran repentistas…”, se vuelve hacía los trovadores gallego-portugueses, enfocando, además, las cantigas en desafío denominadas de tenciones; lo tercero trata de las relaciones entre la poesía popular y tradicional y los poetas cultos del renacimiento ibérico con destaque a Camões; lo cuarto, finalmente, versa, a partir de las contribuciones del capítulo Poetas repentistas de la inacabada Historia de la Literatura Brasileña, de Joaquim Norberto de Sousa Silva (2002), destacando la viola como importante elemento de sociabilización en el periodo colonial brasileño, en que se abultan las practicas poético-improvisatorias de Gregório de Matos y de Domingos Caldas Barbosa En esos capítulos, el eslabón se constituye en reconstrucción histórica del improviso poético, pero sin propalar un origen en el sentido etnocéntrico que sitúa una cultura como superior a otra, en que el improviso, la oralidad y la poesía popular aparecen como resquicios de una sociedad más evolucionada que las ha abandonado. Además, se sigue el principio de construir un análisis comparatista e historicizante, procurando observar algunas producciones poéticas del pasado que hoy solo existen en papel y otrora podrían haber sido compuestas en performance por medio de experiencias contemporáneas como la poesía popular y la cantoría nordestina. Entre las referencias, se destacan Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) y Zumthor (1993, 2010).

Este trabalho percorre uma história das vozes poéticas da literatura luso-brasileira impostadas no improviso poético desde os trovadores medievais até os poetas do Brasil Colônia. Dessa maneira, procura responder se é possível identificar uma continuidade histórica do improviso na poesia lusófona, tendo como objetivo reconstruir historicamente a tradição do improviso poético luso-brasileiro. Essencialmente bibliográfica, a exposição da pesquisa encontra-se dividida em quatro capítulos. O primeiro aborda os princípios epistemológicos para a integração das poéticas orais e populares no interior da literatura luso-brasileira, constituindose como base epistêmica para o desenvolvimento da pesquisa; o segundo, intitulado E se os trovadores medievais fossem repentistas..., volta-se para os trovadores galego-portugueses, enfocando, sobretudo, as cantigas em desafio denominadas de tenções; o terceiro trata das relações entre a poesia popular e tradicional e os poetas cultos do renascimento ibérico com destaque a Camões; o quarto, por fim, versa, a partir das contribuições do capítulo Poetas repentistas da inacabada História da literatura brasileira, de Joaquim Norberto de Sousa Silva (2002), do uso da viola como importante elemento de sociabilização no período colonial brasileiro, em que avultam as práticas poéticas improvisatórias de Gregório de Matos e Domingos Caldas Barbosa Nesses capítulos, o elo de ligação se constituiu na reconstrução histórica do improviso poético, sem apregoar uma origem no sentido etnocêntrico que situa uma cultura como superior a outra, ou em que o improviso, a oralidade e a poesia popular aparecem como resquícios de uma sociedade mais evoluída que as abandonou. Ademais, segue-se o princípio de construir uma análise comparatista e historicizante, procurando observar algumas produções poéticas do passado que hoje só existem em papel e outrora poderiam ter sido compostas e executadas em performance através de experiências contemporâneas como a poesia popular e a cantoria nordestina. Entre referências, destacam-se Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen e Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) e Zumthor (1993, 2010). / This papper tries to make a history of the poetic voices of Luso-Brazilian literature imposed in the poetic improvisation from the medieval troubadours to the poets of Brazil Colony. In this way, we try to answer if it is possible to identify a historical continuity of improvisation in lusophone poetry, with the objective of reconstructing historically the Luso-Brazilian poetic improvisation tradition. Essentially bibliographic, the exposition of the research is divided into four chapters. The first one deals with epistemological principles for the integration of oral and popular poetics within the Luso-Brazilian literature, constituting itself as an epistemic basis for the development of research; the second, entitled And if the medieval troubadours were repentistas ..., turns to the Galician-Portuguese troubadours, focusing, above all, the ditties in challenge called tenções; the third deals with the relations between popular and traditional poetry and the educated poets of the Iberian Renaissance, with a special mention of Camões; the fourth, finally, is based on the contributions of the chapter Improvisational Poets (Repentistas) on the unfinished History of Brazilian Literature by Joaquim Norberto de Sousa Silva (2002), highlighting the viola as an important element of socialization in the Brazilian colonial period, in which the improvisatory poetic practices of Gregório de Matos and Domingos Caldas Barbosa increase In these chapters, the linkage was constituted in the historical reconstruction of poetic improvisation, but without proclaiming an origin in the ethnocentric sense that places one culture as superior to another, in which improvisation, orality and popular poetry appear as remnants of a society more evolved that abandoned them. In addition, it follows the principle of constructing a comparative and historicizing analysis, looking for to observe some poetic productions of the past that now only exist in paper and could once have been composed in performance through contemporary experiences like the popular poetry and the northeastern cantor. Among references, we highlight Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) and Zumthor (1993, 2010). / Este estudio busca hacer una historia de las voces poéticas de la literatura luso-brasileña impostadas en el improviso poético, desde los trovadores medievales hasta los poetas de Brasil Colonia. Con ello, se procura responder si es posible identificar una continuidad histórica del improviso en la poesía lusófona, cuyo objetivo es reconstruir históricamente la tradición del improviso luso-brasileño. Esencialmente bibliográfica, la exposición de la pesquisa se encuentra dividida en cuatro capítulos. Lo primero, aborda los principios epistemológicos para la integración de las poeticas orales y populares en interior de la literatura luso-brasileña, constituyéndose como base epistémica para el desarrollo de la pesquisa; lo segundo, intitulado “Y si los trovadores medievales fueran repentistas…”, se vuelve hacía los trovadores gallego-portugueses, enfocando, además, las cantigas en desafío denominadas de tenciones; lo tercero trata de las relaciones entre la poesía popular y tradicional y los poetas cultos del renacimiento ibérico con destaque a Camões; lo cuarto, finalmente, versa, a partir de las contribuciones del capítulo Poetas repentistas de la inacabada Historia de la Literatura Brasileña, de Joaquim Norberto de Sousa Silva (2002), destacando la viola como importante elemento de sociabilización en el periodo colonial brasileño, en que se abultan las practicas poético-improvisatorias de Gregório de Matos y de Domingos Caldas Barbosa En esos capítulos, el eslabón se constituye en reconstrucción histórica del improviso poético, pero sin propalar un origen en el sentido etnocéntrico que sitúa una cultura como superior a otra, en que el improviso, la oralidad y la poesía popular aparecen como resquicios de una sociedad más evolucionada que las ha abandonado. Además, se sigue el principio de construir un análisis comparatista e historicizante, procurando observar algunas producciones poéticas del pasado que hoy solo existen en papel y otrora podrían haber sido compuestas en performance por medio de experiencias contemporáneas como la poesía popular y la cantoría nordestina. Entre las referencias, se destacan Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) y Zumthor (1993, 2010).