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Verismo was established in the early 1880s by Luigi Capuana and Giovanni Verga from Sicily and roughly paralleled the development of realism and naturalism in other European countries at the time. / Theatre history survey texts list Marco Praga, Giuseppe Giacosa and Roberto Bracco as the major verist playwrights in Italy between 1890 and 1915. Treatises that study verismo in greater depth usually add Gerolamo Rovetta to complete the roster. But two women verismo playwrights have apparently become obscured by the passage of time: Amelia Rosselli and Teresa Ubertis. / This marginalization against women's artistic achievements by male-dominated historians fell under increasing scrutiny in the 1980s. It seemed as if inherited societal and cultural prejudices had buried women's artistic works in the dustbin of history; the unearthing of these works subsequently became a scholarly pursuit. / Amelia Rosselli wrote five full-length plays and four shorter plays. She also published several books of poems and short stories. Her first play, Anima, which won first place in a national competition, and her second play Illusion are verismo works arguably as significant and representative as the more famous male-authored plays. / Teresa Corinna Ubertis, also known as Teresah, wrote six plays, five books of poetry, fourteen children's books and thirteen novels, including one co-written with her husband E. M. Gray, between 1902 and 1925. The Judge, Ubertis' first and most well-known play, was produced and directed by the famous Italian actor Ermete Zacconi, who brought Ibsen to the attention of the Italian public. / In this dissertation, characters in the Rosselli and Ubertis verismo plays are compared and contrasted with characters in A Doll House and An Enemy of the People by Henrik Ibsen, and Maternity by Eugene Brieux, to determine if the verismo plays reveal a different perspective from that of the male-authored plays that might be due to a uniquely female point of view. / Passages from the author's translations of Anima, Illusion and The Judge are contained in the dissertation to contribute to the analysis of the plays and demonstrate the artistry of these marvelous but forgotten scripts. / Source: Dissertation Abstracts International, Volume: 56-07, Section: A, page: 2490. / Major Professor: Stuart E. Baker. / Thesis (Ph.D.)--The Florida State University, 1995.

Source: Dissertation Abstracts International, Volume: 35-05, Section: A, page: 3008. / Thesis (Ph.D.)--The Florida State University, 1974.

As a comparative study, this dissertation analyzes the novels of Mademoiselle de Scudery as they relate to theories expounded by twentieth century psychiatrists and psychologists. The looking-glass self concept as a literary and psychological vehicle, expressed by the female characters of Mademoiselle de Scudery's novels, is the focal area of comparison. / The nature of this work promises a vitality and originality as there has never been a scholarly work with this unique orientation. / The relationship of symbols, spirituality, and the unconscious projections of the human psyche are analyzed extensively in the works of Jung, Mademoiselle de Scudery, and other thought-provoking writers. / A biography of Jung and Mademoiselle de Scudery is included in this study as their imaginative creations are expressions of their unique life-styles. More extensive emphasis is placed on Mademoiselle de Scudery's personal life as it is so closely a projection of her personal acquaintances and philosophy. / The scholarly contemporary reader deserves to be exposed to the abilities of this remarkable woman. Her complicated plots, absence of precise descriptions, and extensive study of love are a deterrent to many modern readers. This dissertation attempts to bring a new vitality, comprehension and appreciation for Mademoiselle de Scudery by employing a uniquely contemporary approach. / This dissertation is divided into four chapters followed by a conclusion. The first chapter discusses biographical information about Madeleine du Scudery as it relates to her works as well as to the theories of Jung. In the second chapter selected volumes of Ibrahim are analyzed, with emphasis placed on mirror images, masks, and the Jungian concept of symbols and reflections of man's innermost self. The third chapter explores the looking-glass self concept in designated volumes of Artamene ou Le Grand Cyrus. The point of departure is the maturation and development of mirror-images as they continue to substantiate Jung's philosophical and psychological orientation. The fourth chapter focuses on selected volumes of Clelie with continued exploration of the looking-glass self and its dynamic Jungian qualities. In the conclusion an attempt is made to establish and summarize the intimate relationship between the looking-glass self concept in Mademoiselle de Scudery's female characters and the philosophy of Jung. / Source: Dissertation Abstracts International, Volume: 49-06, Section: A, page: 1471. / Major Professor: Azzurra B. Givens. / Thesis (Ph.D.)--The Florida State University, 1988.

This dissertation examines the way in which the querelle des bouffons was conceived as abiding by the principles of eloquence, using previous rhetorical quarrels (including the Ancients and Moderns, and Atticism versus Asianism), as well as the fundamental tenets of both eloquence and music, to frame a wide-ranging debate that ultimately rethinks the two arts' roles. The supporters of Italian music (known as the coin de la reine) and the partisans of French music (known as the coin du roi) adhere to this common context, while defining the selection of its essential components, as well as their makeup, according to the values of their given side. I contend that it is the relationship between eloquence and music that allows the quarrel's thinkers—which include Rousseau, Diderot, Grimm, D'Alembert and Rameau, as well as lesser-known figures such as Castel, Caux de Cappeval, Cazotte and Jourdan—to engage in complex intellectual explorations that use the quarrel's innate divisiveness as a means of creating meaningful dialog. Through a system of multi-layering and intricate referencing—and based on a valuing of the essential and an evacuation of the ornamental—, the quarrel's texts themselves determine the debate's corpus, hinting at a new direction for this type of public discourse. The dissertation aims to show that the resulting theoretical considerations use the pamphlets' broad dualities of French and Italian, modern and ancient, harmony and melody, etc., to foster internal multiplicities in the development of subtext and cross-referencing, yielding a new collective, written conversation that achieves a form of musical eloquence.

In 2011, the Performance and Theatre Collection at the Victoria and Albert Museum in London acquired an archive of materials relating to the French prisoners of war held at Portchester Castle from 1810 to 1814. This archive consisted of scripts, playbills, and abstracts from the prisoners’ Théâtre des Variétés built and operated in the basement of the castle’s keep. These materials have provided new and unique insights into the experiences of Napoleonic prisoners of war and have served as a catalyst for this first major critical study of Napoleonic prisoners-of-war theatricals. The majority of the theatre’s sociétaires were captured in the French defeat at the Battle of Bailen in July 1808. This study will be charting the journey of these French prisoners through their captivity in Spain, the Baeleric Islands, and Britain. While this particular group of prisoners has been the subject of previous historic surveys, their theatrical endeavours have been sidelined or relegated to footnotes or dismissed as a way to pass the time. In this study I will draw the prisoners’ theatricals to the centre of critical discussion examining their repertoire in greater detail underlining the vital role that theatre served in the prisoners’ emotional and psychological survival in captivity.

This thesis analyzes the three texts forming the so-called „Fantastic trilogy‟ by Tommaso Landolfi: La pietra lunare (1939), Racconto d’autunno (1947) and Cancroregina (1950), in the light of the cultural and historical environment in which they were produced. I argue that these novellas incorporate and obliquely problematize specific tensions of the period running from Racial Laws (1938) and the Pact of Steel (1939) to post-war reconstruction. Building on recent scholarship on the subversive role of the Fantastic, the study provides a more comprehensive view of Landolfi‟s early production and challenges accepted views on his Fantastic as exclusively ironical, intellectual and free-play. This thesis also investigates the sources through which Landolfi delineates this oblique form of socio-political critique. Whereas scholarship in the past has widely recognized that Landolfi draws inspiration from nineteenth-century French, Russian and German classics in the genre of Gothic and Fantastic fiction, this contribution draws attention to the way Landolfi negotiates this traditional repertoire through input from both Italy‟s „high‟ literary tradition (Dante, Leopardi, Manzoni, D‟Annunzio), Italian folklore and other non-literary sources (i.e. occultism and psychiatry). This thesis considers Landolfi‟s work from fresh angles, applying recent Anglophone theoretical frameworks (including theories on post-humanism, on the subversive role of the Fantastic and political readings of Gothic fiction) to his writing and probing his portrayals of dynamics and tensions that continue to challenge us today. Additionally, it makes use of the anthropological notion of „liminality‟ to underline the intrinsic thematic, textual and narrative ambiguity of the three novellas. I claim that the texts‟ liminality – involving slippery entities, settings, situations and narrative modalities that do not fit any precise category – voices the cultural and political instability of the decade under analysis. The study makes a deeper, and more nuanced, contribution to the literature on Landolfi, reflecting upon the author‟s strategies for problematizing contemporary historical and cultural issues by means of a fiction only apparently detached from reality.

Esta dissertação procura abordar a escrita romanesca de Agustina Bessa-Luís. O Objectivo primeiro é percorrer o espaço que concilia as relações existentes entre o romance enquanto género e a história como fenómeno capaz de ser textualmente representada. O campo de análise foi restringido ao roamnce Eugénia e Silvina. Para este trabalho, foram definidos três objectivos centrais: mostrar como a história se insere no romance de Agustina, demonstrar a possibilidade de construção de uma escrita própria a partir do encontro e desencontro com escritas alheias, registar o modo como a autora constrói a sua verdade, o seu texto. Constatou-se que o romance de agustina é, até certo ponto, uma construção onde tudo surge pela própria vontade da autora que, através de uma escrita dispersa, portadora de múltiplos significados, recusa qualquer certeza, baralhando e confundindo o leitor. Enquanto escritora, Agustina Bessa-Luís joga com textos, confunde os dados, subverte a história, constrói a sua verdade, levando-nos a acreditar nela e a pôr em causa o acabado das verdades feitas.

O tema da mulher que se veste de homem para ir à guerra constitui o eixo central em torno do qual se constrói o romance tradicional profano "A Donzela Guerreira". o conhecimento do Romanceiro ficou a dever-se aos estudos encetados por Almeida Garrett durante o Romantismo. Na fase inicial deste movimento literário, coube a José Maria da Costa e Silva a primeira publicação, em contexto ibérico, de uma versão do romance. No arco cronológico que abarca o século XI e a actualidade, interceptam-se vários relatos que evidenciam a existência, ficcional ou não, de mulheres que optaram por androginizar os seus traços femininos e demonstraram o seu, por vezes mítico, poder guerreiro resolutor. Através de uma abordagem diacrónica relevaremos o poder resolutor e heróico de várias mulheres como "Isabel de Aragão", Antónia Rodrigues, Juana García (La Dama de Arintero) e "Varona" (Maria Pérez).

This dissertation is a study and critical edition of Antonio Hurtado de Mendoza's comedy Cada loco con su tema. The introduction presents a short biography of the playwright, comments on his other plays, analyzes the major themes and ideas of this work, and presents the criteria used in preparing this edition. The basis of the text is a microfilm copy of the autograph manuscript (signed and dated August 29, 1630), located in the Biblioteca Nacional in Madrid. This manuscript was collated with two other early manuscript and the three printed editions. The text of the play retains the orthography of the autograph manuscript but has adjusted the capitalization and punctuation to modern norms. The notes list the variants from the other copies and explain difficult passages. Also included are a table of versification and bibliography / acase@tulane.edu