Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-09-20T18:42:07Z No. of bitstreams: 1 Maranhao Restauracao Portuguesa.pdf: 2733437 bytes, checksum: 90bd89918fe6abc32e303d70d9f6ba55 (MD5) / Made available in DSpace on 2017-09-20T18:42:07Z (GMT). No. of bitstreams: 1 Maranhao Restauracao Portuguesa.pdf: 2733437 bytes, checksum: 90bd89918fe6abc32e303d70d9f6ba55 (MD5) Previous issue date: 2016-12-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study analyzes the role of Maranhão in the political-prophetic writings of Father Antônio Vieira. In the context of the Restoration War (1640-1668), the vast work of Father Antonio Vieira, which includes letters, sermons and his prophetic-political writings, reinvents the theme of universalism to include the newly restored nation in the plans for recognition and legitimacy of Their independence. However, his writings are beyond the European space, setting also in Portuguese America and in the State of Maranhão itself. The present 9study investigates the impacts of the Restoration and the Luso-Castilian war in this territory and in what we can call the Equatorial Atlantic. Thus, we seek to understand how associated elements such as Vieira's diplomacy, the war of restoration, the Equatorial Atlantic and the State of Maranhão are integrated into a project at the same time of political conquest and conversion, reinvented within the limits of portuguese providentialism. / O presente estudo analisa o papel do Maranhão nos escritos político-proféticos do Padre Antônio Vieira. No contexto da Guerra de Restauração (1640-1668), a vasta obra do Padre Antônio Vieira, que incluindo cartas, sermões e seus escritos políticosproféticos, reinventa o tema do universalismo para incluir a recém restaurada nação nos planos de reconhecimento e legitimidade de sua independência. Entretanto, seus escritos estão para além do espaço europeu, fixando-se também na América portuguesa e no próprio Estado do Maranhão. O presente estudo investiga os impactos da Restauração e da guerra luso-castelhana neste território e no que podemos chamar de Atlântico Equatorial. Assim, buscamos compreender como elementos associados, como a diplomacia vieiriana, a Guerra de Restauração, o Atlântico Equatorial e o Estado do Maranhão se integram em um projeto ao mesmo tempo de conquista política e de conversão, reinventados nos limites do providencialismo português.

Excerpt: It was the sixties—albeit the 1660s—a time for tricksters, rakes, subversive women and sexual energy on the stage. It was a time of fun for those with the means to partake of it. The “good old days” are, of course, always better from a distance, but writers on through the twentieth century found the Restoration an apt setting for their fictions about prostitution, political intrigue, and tragic or comic historical events, especially for the cinema.

La critique récente sur Aphra Behn (1640-1689) a montré d’une part que ses courts romans entretiennent des liens privilégiés avec le champ de la philosophie naturelle montante et d’autre part, que le monstrueux ou l’exotique sont des motifs privilégiés de ses œuvres. Ce travail vise à mettre en lien ces deux différentes approches, en établissant la centralité de la notion de curiosité dans la fiction d’Aphra Behn. La curiosité est une notion ambivalente au XVIIe siècle qui, bien qu’elle continue à porter des connotations négatives d’origine chrétienne et médiévale, s’est vue revalorisée par la philosophie naturelle. A la même époque, la notion de curiosité suscite également un regain d’intérêt de la part des théoriciens du roman ; Behn se positionne dans le débat esthétique et épistémologique de son temps en revendiquant une mimesis originale du vrai absolu, qui refuse d’intéresser son lecteur par une curiosité pour les choses familières, et choisit de représenter l’extra-ordinaire. Behn tente de discriminer entre une « bonne » et une « mauvaise » curiosité, pour se poser en curieuse et en collectionneuse avisée, mais continue d’entretenir des liens avec une culture plus populaire de la curiosité, celle des spectacles de foires. Le « cabinet de curiosité littéraire » que construit Aphra Behn privilégie des figures de monstres atypiques, qui permettent d’inventer une forme romanesque curieuse et transgressive. / Recent research on Aphra Behn has shown the link between the scientific prose of the period and Behn’s narrative fiction, while other scholars have underscored the importance of bodily and moral deformity in her works. Drawing on these apparently heterogeneous studies, this project aims at providing a global aesthetic framework for Behn’s fiction. The epistemological context of the late seventeenth century offers a stimulating insight in Behn’s fiction, especially through the notion of “curiosity”. This notion is at the centre of both the scientific and literary concerns of the period; the growing interest in natural philosophy progressively rehabilitates curiosity – which had been an object of scorn in the Augustinian tradition – first by valuing curiosity as the ideal attitude of the “scientist”, and by having curiosities as its major object of study – the rare, new, and unusual objects of the Wunderkammern replacing the “universal” objects of study of the Medieval and Renaissance science. At exactly the same time, in the literary field, the notion of curiosity undergoes a redefinition, in a somewhat similar fashion to that which occurs in the scientific field, shifting from the “generalities” of idealized romance to a new conception of curiosity in the emerging genre of the novel. Behn advocates for a radical mimesis of truth and extraordinary curiosities. At the time when Aphra Behn writes her fictional texts, curiosity is therefore a polysemic notion, whose unity can nonetheless be found in a set of specificities: curiosity is concerned, both in science and in literature, with the emotions/reactions of the “curious” scientist or reader; it is what leads us to experiment, and it comes from a desire for knowledge. But curiosity is also a transgressive desire: the distinction between two types of curiosity, a “good” and a “bad” curiosity, is central in Behn’s discourse. The parallel between Behn’s fascination with curiosities and the scientific episteme of her time is obvious in the numerous descriptions of exotica in Oroonoko, as the narrator explicitly compares the objects she shows to those which form part of the Royal Society repository, but the rest of Behn’s fiction is also concerned with this preoccupation with curiosity: in several of her other works, moral irregularities are conjoined with ‘natural’/physical irregularities which belong to the realm of curiosities. The various transgressions depicted in Behn’s fiction can therefore be seen as “curiosities”; Behn’s work can be read as a sort of Wunderkammern, as she herself seems to suggest when she wishes her novels were “esteem’d as Medals in the Cabinets of Men of Wit” – novelists collect and experiment on human nature just as natural philosophers do with nature (and art) in the cabinets of curiosities. But in her fiction Behn actually goes beyond the conventional notion of the cabinet of curiosities, by insisting on moral and physical monstrosity. In underlining the importance of the realm of curiosity in Behn’s fiction, this study aims at showing the specificity of her aesthetics and the originality of her conception of the novel; as she states in the preface to Oroonoko, writers, like painters, are supposed to “erase” defects: by deliberately choosing not to idealize nature, men, or society, and by choosing to systematically depict deformity and exceptions instead (rather than exemplary individuals), Aphra Behn invents her own conception of the novel, a sensationalist aesthetic of the “strange and novel”.

Broad changes in early-modern English society were often reflected in the community via a 'war of words'. A close investigation of the social circumstances of individuals and of the relationships between individuals who were caught up in verbal crime provides a detailed context or 'micro-history' of this phenomenon, which in turn sheds light on the socio-economic changes occurring in the Northwest during this period. Since crimes associated with speech increased fourfold between 1580-1680, an investigation of the symbolic domain of speech is important to an understanding of early-modern society. This includes an investigation of chiding, cursing and scolding. In this thesis, the sources of female power in the early-modern community are examined, as well as the dynamics of ill-will behind female verbal crime. Such crimes are researched from manuscripts of proceedings in the local church courts and quarter sessions, which often provide insights into the popular politics of early-modern towns. By examining such texts, we may access a 'micro-history' of gossip that contributes to the debate over such micro-historical questions as gender, social politics and female social space. Networks of power and factional divisions with the community are revealed by exploring the attitudes of those involved in cases of female verbal crime, since individuals from every walk of life appeared in order to give evidence / Doctor of Philosophy (PhD)

本論文以英國17世紀形上詩人唐恩的詩為研究對象。共分為三章，第一章分析唐恩在《歌與十四行詩集》(The Songs and Sonets)中的愛情觀。第二章分析唐恩的形上派奇想(metaphysical conceit)。第三章以唐恩的兩首《週年紀念》(The Anniversaries)為對象，討論其中包含的宗教觀，哲學觀，及生死觀。 / This thesis intendes to analyze John Donne's poetry. The thesis is divided into three chapters. The first chapter is devoted to the study of Donne's views of love in the Songs and Sonets. The second chapter is devoted especially to Donne's use of metaphysical conceit. The third chapter is a study of Donne's Anniversaries, two long poems dealing with science, philosophy, life, and death.

Il primo capitolo si occupa degli aspetti culturali e letterari della Milano di inizio Seicento, in particolare attraverso lo studio dello sviluppo del 'genere poema' e il confronto di due opere, pubblicate nel 1611 dallo stesso stampatore Giacomo Como: La risorgente Roma di Giovan Ambrogio Biffi e L'Armidoro del poeta veneziano Giovanni Soranzo. Entrambi gli autori ebbero come patrono il conte di Sale Francesco d'Adda, mecenate, pittore dilettante e cavaliere, dedito all'organizzazione di tornei. Questo tipo di intrattenimento, molto diffuso nelle corti italiane del periodo, è argomento del secondo capitolo. dalla lettura delle cronache sulle giostre allestite a Milano tra il 1605 e il 1606 per festeggiare i natali del delfino di Spagna, cui partecipò lo stesso conte di Sale, sappiamo che il personaggio di Armidoro, cantato nei loro versi sia da Biffi che da Soranzo, altri non è che lo stesso Francesco d'Adda. abbiamo scoperto anche che tra le fonti del poema di Soranzo vi sono le relazioni del matrimonio delle infante di Savoia (1608) e il testo del Balletto delle ingrate del Rinuccini, composto per l'evento, musicato da Claudio Monteverdi. Il terzo capitolo consiste nell'analisi del poema di Soranzo, di circa 36.500 versi, che trae ispirazione dai modelli di Ariosto e Tasso, ma per certi aspetti si mostra in sintonia con le nuove mode poetiche del secolo barocco. / The first chapter deals with cultural and literary aspects of Milan at the beginning of XVII century, through the confrontation of two poems, published in 1611 by the same editor Giacomo Como: the Risorgente Roma of the Milanese author Giovan Ambrogio Biffi and the Armidoro, wrote by the Venetian poet Giovanni Soranzo. Both Biffi and Soranzo were protected from Francesco d'Adda, earl of Sale's county, patron of artists, amateur painter and knight, who delighted in organizing tournaments. This kind of entertainment, very frequent in the Italian courts of that period, is argument of the second chapter. After the reading of chronicles about chivalrous performances, played in Milan by count of Sale from 1605 till 1606 to celebrate the birth of Spanish prince, we know that Armidoro is the mask of Francesco d'Adda. At the same time we detected many important sources of the Soranzo's poem: the commentaries of Federico Follino and Pompeo Brambilla on the marriage between Francesco Gonzaga and Margherita di Savoia (1608), and the Ingrate's ballet of Ottavio Rinuccini, performed in that occasion with music of Claudio Monteverdi. The third chapter consists on analysis of Armidoro, the poem of about 36.500 lines that Soranzo wrote in competition with Ariosto's Orlando furioso and Tasso's Gerusalemme liberata.

This dissertation investigates the extent of knowledge of China in Europe and, more particularly, Chinese influence on European art and architecture in the sixteenth and seventeenth centuries. It attempts to answer the following questions: 1. What visual and literature resources on China and Chinese art in Europe were available in the sixteenth and seventeenth centuries? 2. To which extent was there any understanding of Chinese art and architecture in Europe in the sixteenth and seventeenth centuries? 3. To which extent might this understanding have affected European art and architecture in the sixteenth and seventeenth centuries? Although European contacts with China began in the early sixteenth century, few scholars have touched on the evidence that exists of the extent of European knowledge of Chinese architecture before 1720, even on the possible impact of the Chinese architectural designs that were depicted on Chinese porcelains and other merchandise imported into Europe for two centuries before that date. This dissertation examines the evidence for the employment of new and differing aesthetics derived from Chinese artifacts and then assimilated in European art, architecture and landscape in the sixteenth and seventeenth centuries. After examining the variety of resources from which the new aesthetics derived from Chinese artifacts imported into Europe was evolved, the dissertation analyzes Chinese influence in different nations in an order which follows the most consistently open and effective communications to the Far East. In the process, the dissertation quotes the contemporary historical descriptions of those Chinese artifacts as well as attempting to identify their influence on European art and architecture, thus providing evidence that the interaction between China and Europe served as subtle but active, generative force in European art throughout the period. In sum, the thesis attempts to explore the European understanding of Chinese art in the sixteenth and seventeenth centuries and to examine the consequences of that influence as they were reflected in European art and architecture. It analyzes some of the most influential and related social, political, and religious aspects that acted as powerful stimuli, which in turn affected in the growth of Chinese influence on European art, architecture and landscape. This dissertation thus attempts to push back the significance of the Chinese influence on aspects of European artistic styles from the accepted date of the early eighteenth century to the seventeenth and even earlier - the sixteenth century.

This thesis explores changes in experimental reporting during the scientific revolution of the seventeenth century. In particular, I examine and compare some of the works of Count Lorenzo Magalotti, namely the Saggi di Naturali Esperienza or Essays on Natural Experiments and the Relazione d'Inghilterra. In 1667, as secretary of the Accademia del Cimento – the Tuscan experimental academy founded in 1657 – Magalotti (1637-1712) authored the Saggi, a collection of experimental reports. These reports included extensive written descriptions of experiments along with dozens of engravings depicting the instruments custom-made for the experiments. Magalotti also served as ambassador and agent of the Tuscan court and in the same year he traveled to England to offer a copy of the Saggi to King Charles II. While in England, Magalotti corresponded extensively with Prince Leopold and with the future grand duke, Cosimo III, reporting his observations of the English court: descriptions of political, military, and intellectual life at the court of Charles II. Magalotti’s account of his experience was compiled as Relazione d'Inghilterra in 1669. My work shows that the Saggi and the Relazione, although different in their content, emerged from the same historical context. I argue that the way information was conceived and organized, whether it originated from experimental practices (Saggi) or diplomatic actions (Relazione), changed over the course of the seventeenth century. Experimental reporting, like political reporting, became parceled into small, discrete units suited for high rates of information exchange.

Thesis (M.A.)--Miami University, Dept. of History, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 50-54).

Issus d’une dynastie de maîtres maçons et d’architectes établis à Dreux vers 1500-1516, les frères Louis et Clément Métézeau sont des architectes français actifs de la fin du XVIe siècle à la première moitié du XVIIe. La carrière du premier, Louis (vers 1563 ?-1615), essentiellement parisienne, se confond avec le règne d’Henri IV et se prolonge jusqu’en 1615 sous la régence de Marie de Médicis. En 1594, il fut chargé de superviser tous les chantiers royaux et fut, à ce titre, un des principaux acteurs de la reconstruction et de la modernisation du royaume. Son frère cadet, Clément (1581-1652), suivit ses traces : un temps au service des ducs de Lorraine et de Nevers, il revint en France où il devint à partir de 1615 un des architectes et ingénieurs ordinaires du roi Louis XIII puis de son frère Gaston d’Orléans. Il répondit aussi à de nombreuses commandes privées, tant civiles que religieuses, mais c’est la digue de La Rochelle qui fit sa renommée.A partir de documents d’archives inédits et d’une iconographie plus riche qu’on pourrait imaginer a priori, cette thèse restitue et réévalue les carrières méconnues de ces deux architectes. Une lecture critique des sources inédites rétablit la chronologie de chacune de leurs œuvres et s’attache à répondre aux problèmes récurrents d’attribution. Elle met aussi l’accent sur la polyvalence de ces artistes qu’elle replace au sein même de la communauté artistique parisienne de l’époque. Elle tente enfin de définir, pour chacun, un style architectural mis en regard avec la production des « ancêtres » de la dynastie, puis avec celle de leurs confrères. / Born into a dynasty of builders and architects settled in Dreux around 1500-1516, the brothers Louis and Clément Métézeau are French architects of the end of the sixteenth century and the first half of the seventeenth century. The career of the elder, Louis (ca. 1563?-1615), essentially concentrated around Paris, parallels with the reign of Henri IV and continues until 1615 under the regency of Marie de Médicis. In 1594, he was chosen to supervise all the royal building sites. He was one of the major actors of the reconstruction and the modernisation of the kingdom. His younger brother, Clément (1581-1652), followed his example. After working for the dukes of Lorraine and Nevers, he came back to France where he became in 1615 one of the ordinary architects and engineers of the king Louis XIII and his brother Gaston d’Orléans. He carried on several private projects, both civil and religious, but he became famous with his dike of La Rochelle.Using unpublished archive documents, this dissertation revives the unknown careers of both of these architects. A critical reading of the sources provides us with a new chronology of their works and tries to answer the numerous questions concerning their works, especially the recurrent issues of the attribution of their buildings.