O estudo da obra dramática de Lope de Vega permite observar que o dramaturgo espanhol dedica parte de sua produção teatral à encenação da temática da loucura e da figura do louco. Tem-se a tese de que a representação da loucura no teatro lopesco encontra-se pautada pelos preceitos poéticos e retóricos, que estavam em voga naquela época, bem como nas práticas de representação próprias dos séculos XVI e XVII, não se tratando, portanto, de uma simples reprodução empírica do contexto social e histórico daqueles tempos. As abordagens que norteiam o presente trabalho, centradas na temática da loucura, são: 1) encenação de personagens que representam a categoria intelectual do discreto; 2) elaboração de discursos metafóricos e agudos; 3) aplicação dos conceitos de simulação e dissimulação na ação das personagens; 4) imitação de modelos de loucos recorrentes nos séculos XVI e XVII, e, por último, 5) representação de outros discursos e convenções de seu tempo em torno ao tema da loucura. Para que se possa realizar tal demonstração, escolheu-se examinar três peças dramáticas, que são dedicadas à encenação da loucura fingida, situadas nos primeiros anos de composição dramática de Lope, a saber: Los locos de Valencia (1590-1595), El mármol de Felisardo (1594?-1598?) e El cuerdo loco (1602). A metodologia utilizada para a realização deste trabalho tem como preocupação a reconstituição, na medida do possível, do contexto no qual as obras lopescas encontram-se inseridas, como meio de propor uma interpretação das mesmas por meio de seu próprio discurso, bem como por intermédio de outros discursos de seu tempo. Tal método de análise permite examinar os artifícios engenhosos utilizados pelas personagens para a manutenção da máscara da loucura fingida, no decorrer das obras citadas. / A study of Lope de Vegas dramatic work allows us to observe that the Spanish playwright dedicates part of his theatrical production to the staging of the theme of madness and the insane character. The aim of this research is to defend the thesis that the portrayal of madness in Lopes theater is guided by poetic and rhetorical precepts, which were in vogue at that time, as well as by the practices of portrayal typical of the 16th and 17th centuries, and is not, therefore, a simple empirical reproduction of the social and historical context of those times. The hypotheses that guide this work, centered on the theme of madness, are: 1) the staging of characters that represent the intellectual category of the discrete; 2) the development of metaphorical and acute discourse; 3) the application of simulation and dissimulation concepts in the action of the characters; 4) the imitation of recurrent models of insanity in the 16th and 17th centuries, and finally, 5) the representation of other discourse and conventions of that time around the theme of madness. In order to be able to make such a statement, the choice was made to examine three dramatic pieces dedicated to the staging of feigned madness from the first years of Lopes dramatic composition, namely: Los locos de Valencia (15901595), El mármol de Felisardo (1594?1598?) and El cuerdo loco (1602). The methodology used for this work is concerned with the reconstitution, as far as possible, of the context within which Lopes works existed as a means of proposing an ability to read them through their own discourse, as well as through other discourses of their time. This method of analysis makes it possible to examine the ingenious devices used by the characters to maintain a mask of feigned madness through the works cited.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Nov. 9, 2007). PDF text: ca. 185 p. UMI publication number: AAT 3258738. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--University of Pennsylvania, 1937. / Includes bibliographical references.

La presente investigación analiza el episodio correspondiente al relato del naufragio y las peripecias de Pedro Serrano, el cual se encuentra ubicado en el capítulo VIII del Libro I, de la primera parte de los Comentarios Reales (1609) del Inca Garcilaso. En este estudio se propone que el episodio de Pedro Serrano se inserta dentro del discurso del Inca Garcilaso para responder a los siguientes objetivos específicos. En primer lugar, para realizar una inversión de la categoría de lo salvaje; en segundo lugar, para representar una alegoría del encuentro entre conquistadores y americanos y; finalmente, para proponer una alternativa de conciliación posible entre ambos mundos, el europeo y el americano. Se comienza indagando una aproximación metodológica para el estudio de este episodio donde se recoge el debate en torno a la naturaleza histórica y literaria del mismo. A continuación, se analiza el contexto en que se enmarca el episodio y se establece su clasificación como fábula historial. La definición de este concepto se fundamenta en la influencia neoplatónica que recibe el Inca, principalmente, por el poeta judío Judá Abravanel y por Marsilio Ficino; asimismo, se teoriza este concepto según lo planteado por Carmela Zanelli sobre las propuestas de Efraín Kristal. Finalmente, se analizan los múltiples niveles de significación contenidos en el episodio de Pedro Serrano, examinando los elementos que componen las distintas metáforas presentes en la fábula historial con la finalidad de desentrañar la verdad teologal que contiene. / Tesis

This article examines the Andalusian stage in the life of the author of the Comentarios Reales, as the original context of its creation. This literary context involves both its discursive nature (description of a culturally sufficient scenario, in dialogue with the reader) and its nationalist legitimation (the claim of an identity within the Christian Commonwealth). Such legitimation receives its characteristic mark of Renaissance logic (so common to the European nationalist process, from the fourteenth to the nineteenth century), but, more specifically, as a particular process of legitimizing stigmatized societies. In that sense, Andalucía, full of conversos incorporated into the Christian world (in Jewish and morisco minorities who claimed the right of Christian affiliation, recognized above all in the Society of Jesus until 1593) offered an ideal model for revindicating the despised, pre-Christian America (the Incas). / El presente artículo propone considerar la etapa andaluza del autor de losComentarios Reales como su contexto original de creación. Este contexto literario involucra tanto su naturaleza discursiva (descripción de un escenario culturalmente suficiente, en diálogo interpersonal con el lector) como su legitimación nacionalista (reclamación de identidad dentro de la Commonwealthc ristiana). Tal legitimación recibe su marca característica de la lógica renacentista (tan común al proceso nacionalista europeo, desde el siglo XIV al XIX), pero se matiza como un proceso particular de legitimación de sociedades estigmatizadas. En ese sentido, la Andalucía llena de conversos incorporados al universo cristiano (en minorías judías y moriscas que reclamaban el derecho a su pertenencia cristiana, reconocido excepcionalmente en la Compañía de Jesús hasta 1593) ofrecía un modelo reivindicativo idóneo para la América precristiana menospreciada (los incas).

O estudo da obra dramática de Lope de Vega permite observar que o dramaturgo espanhol dedica parte de sua produção teatral à encenação da temática da loucura e da figura do louco. Tem-se a tese de que a representação da loucura no teatro lopesco encontra-se pautada pelos preceitos poéticos e retóricos, que estavam em voga naquela época, bem como nas práticas de representação próprias dos séculos XVI e XVII, não se tratando, portanto, de uma simples reprodução empírica do contexto social e histórico daqueles tempos. As abordagens que norteiam o presente trabalho, centradas na temática da loucura, são: 1) encenação de personagens que representam a categoria intelectual do discreto; 2) elaboração de discursos metafóricos e agudos; 3) aplicação dos conceitos de simulação e dissimulação na ação das personagens; 4) imitação de modelos de loucos recorrentes nos séculos XVI e XVII, e, por último, 5) representação de outros discursos e convenções de seu tempo em torno ao tema da loucura. Para que se possa realizar tal demonstração, escolheu-se examinar três peças dramáticas, que são dedicadas à encenação da loucura fingida, situadas nos primeiros anos de composição dramática de Lope, a saber: Los locos de Valencia (1590-1595), El mármol de Felisardo (1594?-1598?) e El cuerdo loco (1602). A metodologia utilizada para a realização deste trabalho tem como preocupação a reconstituição, na medida do possível, do contexto no qual as obras lopescas encontram-se inseridas, como meio de propor uma interpretação das mesmas por meio de seu próprio discurso, bem como por intermédio de outros discursos de seu tempo. Tal método de análise permite examinar os artifícios engenhosos utilizados pelas personagens para a manutenção da máscara da loucura fingida, no decorrer das obras citadas. / A study of Lope de Vegas dramatic work allows us to observe that the Spanish playwright dedicates part of his theatrical production to the staging of the theme of madness and the insane character. The aim of this research is to defend the thesis that the portrayal of madness in Lopes theater is guided by poetic and rhetorical precepts, which were in vogue at that time, as well as by the practices of portrayal typical of the 16th and 17th centuries, and is not, therefore, a simple empirical reproduction of the social and historical context of those times. The hypotheses that guide this work, centered on the theme of madness, are: 1) the staging of characters that represent the intellectual category of the discrete; 2) the development of metaphorical and acute discourse; 3) the application of simulation and dissimulation concepts in the action of the characters; 4) the imitation of recurrent models of insanity in the 16th and 17th centuries, and finally, 5) the representation of other discourse and conventions of that time around the theme of madness. In order to be able to make such a statement, the choice was made to examine three dramatic pieces dedicated to the staging of feigned madness from the first years of Lopes dramatic composition, namely: Los locos de Valencia (15901595), El mármol de Felisardo (1594?1598?) and El cuerdo loco (1602). The methodology used for this work is concerned with the reconstitution, as far as possible, of the context within which Lopes works existed as a means of proposing an ability to read them through their own discourse, as well as through other discourses of their time. This method of analysis makes it possible to examine the ingenious devices used by the characters to maintain a mask of feigned madness through the works cited.

La présente thèse a pour ambition de présenter une nouvelle interprétation de la poésie du principal représentant de la première Renaissance en Espagne, Garcilaso de la Vega (ca. 1499-1536). Bien que partiellement influencée par le Canzoniere de Pétrarque, la cohérence de la poésie de Garcilaso n’émane pas de l’imitation de celui-ci. L’unité de son projet est rendue possible par l’invention d’une nouvelle esthétique, en parfait accord avec l’idéal éthique du courtisan alors formulé par Castiglione (Partie I). De cette poésie, l’Épître à Boscán peut se lire comme le programme. Les parties II et III de la thèse analysent, à partir de la théorie rhétorique et psychologique, l’importance de l’image conçue non comme figure de style, mais comme objet textuel (imago, ou phantasma), respectivement dans les textes d’inspiration pétrarquiste et dans ceux à la forme héritée des modèles antiques. Dans l’esthétique des premiers, cette image est l’image mentale de l’aimée et la poésie décrit ses ravages dans l’esprit de l’amant. Les compositions s’inspirant des Anciens, notamment des élégiaques et de Virgile, privilégient une image de nature artistique, dont la poésie s’évertue à célébrer la splendeur. De l’image de l’aimée à celle du prince, en passant par l’œuvre d’art qui donne de ces images une vision médiatisée, la description devient le lieu principal de la célébration poétique et, conformément à l’idéal de Castiglione, remplit pleinement son rôle épidictique. / This dissertation aims to present a new interpretation of the work of the main poet of the first Spanish Renaissance, Garcilaso de la Vega (ca. 1499-1536). Although it is partially influenced by Petrarch’s Canzoniere, the coherence of Garcilaso’s poetry does not only emanate from its imitation. Its unity is made possible by the poet’s invention of a new aesthetic, plainly in harmony with the ethic ideal designed at that time by Castiglione (1st part). Garcilaso’s Epistle to Boscán may be read as the poetical program of this project. The second and the third parts of the dissertation analyse, within a rhetorical and psychological frame, the importance of the image, conceived not as a stylistic device but as a textual object (imago, or phantasma), either in the texts inspired by the Petrarchists and in those who imitate antique forms. For the aesthetics of the first group, this image is the mental image of the beloved and the poetry pictures the disorder it causes in the lover’s mind. The texts which imitate the Ancients, especially the Elegiacs and Virgil, do prefer an artistic image and try to celebrate its splendour. The image of the beloved and the one of the prince, including those cases in which they are mediated by the charm of the art, determine the poetry as the most important place of the poetic celebration: as defined by Castiglione’s ideal, the poetry fulfils thus its epidictic function.

We have attempted adaptive optics (AO) imaging of planets around nearby stars in the L' and M bands, using the Clio instrument on the MMT. The MMT AO system, with its deformable secondary mirror, offers uniquely low background AO-corrected images in these bands. This allowed us to explore a wavelength regime that has not been well utilized in searches for extrasolar planets, but offers some advantages over the more commonly used shorter-wavelength H band regime. We have taken deep L' and M band images of the interesting debris disk stars Vega and ϵ Eri. Our observations of ϵ Eri attain better sensitivity to low mass planets within 3 arcseconds of the star than any other AO observations to date. At 1.7 arcsec, the maximum separation of the known planet ϵ Eri b, our M band sensitivity corresponds to objects only 9-16 times brighter than the predicted brightness of this planet. M is by far the most promising band for directly imaging this planet for the first time, though Clio would require a multi-night integration. We have carried out a survey of 50 nearby stars, using mostly the L' band. The survey objective was to determine whether power law fits to the statistics of planet mass m and orbital semimajor axis a from radial velocity (RV) surveys apply when extrapolated to orbital radii beyond the outer limits of RV sensitivity. Given dN/dm ~ m^{-1.44}, our survey null result rules out dN/da ~ a^{-0.2} extending beyond 155 AU, or dN/da constant extending beyond 70 AU, at the 95% confidence level. We have not placed as tight constraints on the planet distributions as the best H band surveys. However, we have probed older planet populations and by using a different wavelength regime have helped diversify results against model uncertainties. We have developed careful and well-tested observing, image processing, sensitivity analysis, and source detection methods, and helped advance L' and M band AO astronomy. These wavelengths will become increasingly important with the advent of new giant telescopes sensitive to interesting, low-temperature planets with red H-L' and H-M colors.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The aim of this Master's thesis is to introduce the Czech public to the works of the contemporary Spanish translator, historian of translation, professor and humanist, Miguel Ángel Vega Cernuda. In the introductory part we define the position of M. A. Vega in today's Spanish translation and interpreting studies. We focus mainly on a subject that is crucial for Vega - translation history in a cultural and social context. We also present Vega's own translations as well as his views on modern theory of translation and the education and profile of a translator. We also mention his cooperation with the Institute of Translation Studies and his connection to Jiří Levý, whom Vega introduced to the Spanish environment. Key words: Miguel Ángel Vega Cernuda, Spanish translation and interpreting studies, translation history, interpreting history, translations cultural aspect, free translation, faithful translation, Jiří Levý, Franciscans, conquest and colonization of the Americas.