This thesis explores the relationship between the monster and the tragic in 16th and 17th century French literature, in particular through the analysis of the figure of the tragic monster. We borrowed the term “tragic monster” from F. Dupont (Monstres de Sénèque) and we have elaborated this concept in conjunction with the structure of Ancient Greek and Roman tragedy, composed of dolor, furor, néfas and the tragic monster. Our first chapter explores the many connotations associated with the monster in 16th and 17th century France (prodigious births, grotesques, and monstrous heroes of Greek and Roman tragedy) and establishes the similarities between the scenario of Ancient tragedy and the story of the Fall of man. In our second chapter, we take note of the coincidence between monstrous form and monstrous behaviour in Aubigné’s depiction of France as a “monstrous giant” in Les Tragiques and also demonstrate the strong connection between the tragic and the monstrous for Aubigné. In chapter three, a comparison of Bèze’s Abraham sacrifiant to the medieval treatment of the story of Abraham and Isaac reveals the concept of the tragic monster as an innovation that Bèze develops from his Greek and Roman models. We also note the important differences between Bèze’s biblical tragedy and his models. In chapter four we follow the tragic arc of both Thésée and Phèdre in Racine’s Phèdre, highlighting the importance of self-knowledge in this play and that of lucidity for the concept of the tragic monster. In chapter five, lucidity continues to be a major theme as Pascal attempts to convert his reader by impressing upon him his status as a “monstre incompréhensible” in Les Pensées. In our conclusion, we attempt to trace an evolution in the concept of the monster – originally thought of something “against nature”, to finally being defined with Pascal, as the very essence of the human being – and we point to the possible consequences of this evolution. / Thesis (Ph.D, French) -- Queen's University, 2011-10-02 18:48:23.748

Thesis (Ph.D.)--University of Melbourne, Dept. of Art History, Cinema, Classics and Archaeology, 2005. / Typescript. Includes bibliographical references.

Also submitted by the author as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006. / Includes bibliographical references and index. / 564 p. ; / Title page, contents and abstract only. The complete thesis in print form is available from the University Library.

Thèse--Université d'Oslo, 2008. / Bibliogr. p. 223-240.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 173-186).

Marcus Agrippa was the chief supporter of Octavian, the heir of Julius Caesar, in his rise to prominence as the first Roman Emperor Augustus. He also played a central role in the Augustan establishment of the new order of Empire, which replaced the late Republic. Agrippa’s land and sea victories were crucial for the success of Octavian, but it will be argued that his constructions were important instruments of change in this pivotal historical period. Consequently, all Agrippan works are investigated, whether for war or peace, and whether known from material remains or other evidence. Agrippan constructions in the West (Gaul and the Iberian Peninsula) are described in detail, and the others are described in more general terms. Previously, Agrippan constructions have either been included in biographies of Agrippa, and treated generally, or have been studied as particular works with detailed description, but little explanation. Also, constructions in towns with material remains or inscriptions have been extensively studied, but important works outside towns with fewer remains have been largely overlooked. Consequently, previous writers have represented Agrippa as a builder of monuments in towns and there has been little understanding of the nature or purpose of the totality of his works, and no proper account of them.

Thesis (Ph. D.)--University of Chicago, Committee on the History of Culture, December 2000. / Includes bibliographical references. Also available on the Internet.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

La présente étude se consacre à examiner les attitudes de Rabelais vis-à-vis de la magie. Sous l’angle biographique il est connu que notre humaniste ne manque pas d’occasions de se familiariser avec ce courant de pensée. Ses connaissances de l’occultisme se reflètent profondément dans son oeuvre. L’ironie de Rabelais face à la magie, qui existe certes dans son texte, n’est pourtant pas totale, vu qu’il puise son inspiration sincère dans le réservoir magique. Le sujet de la magie chez Rabelais, constituant une problématique complexe, attire souvent l’attention des critiques, mais fait rarement l’objet d’études sérieuses malgré son importance. En prenant comme fil conducteur le manuel de magie à grand succès, De occulta philosophia, d’Henri-Corneille Agrippa von Nettesheim, notre thèse tente d’éclaircir ce que Rabelais doit à des humanistes versés dans la magie, tels que Marsile Ficin ou Coelius Rhodiginus. Suivant la classification d’Agrippa, notre analyse textuelle porte successivement sur la magie céleste, la magie naturelle et la magie cérémonielle, ainsi que la magie démonique. En s’inspirant de saint Augustin et de Ficin, Rabelais distingue la magie blanche de type nécessaire, studieux et scientifique de la magie noire de caractère vain, curieux et ostentatoire. Mais en même temps, la stratégie littéraire de Rabelais laisse en suspens des choix possibles et variés pour expliquer les phénomènes admirables en parsemant son texte d’indices fabuleux pour inciter le lecteur à plus haut sens.a mon avis, Rabelais subit leur influence de façon plus profonde qu'on ne le dit, et puise son inspiration dans la lecture de leurs livres. l'hermétisme étant à la fois une pensée philosophique, religieuse, chimique et syncrétique, mon sujet nous permet de réexaminer globalement des problèmes variés concernant Rabelais. tout cela contribuera à l'interprétation de l'œuvre de Rabelais. / The present study aims to examine Rabelais’s attitudes towards magic. From a biographical point of view, it is known that our humanist did not lack opportunities to familiarise himself with this current of thought. And hisknowledge of occultism is profoundly reflected in his works. Although Rabelais can be seen to treat the topic of magic with a degree of irony, he nonetheless appears to draw sincere inspiration from magical works and texts. While magic in Rabelais’s works, and its resultant complexities, have always attracted the attention of critics, its use and significance have not been sufficiently investigated in previous studies. Led by clues found in the bestsellingmanual of magic, De occulta philosophia by Heinrich Cornelius Agrippa von Nettesheim, this study attempts to clarify the influence on Rabelais of humanists well-versed in the art of magic, such as Marsilio Ficinoor Coelius Rhodiginus. Employing Agrippa’s classification taxonomy, our textual analysis deals successively with celestial magic, natural magic and ceremonial magic, as well as demonic magic. Analysis reveals that Rabelais, inspired by Saint Augustine and Ficino, distinguishes white magic of necessary, studious, and scientific type from black magic of vain, curious, and ostentatious character. The literary strategy of Rabelais, however, leaves open a number of possible method of elucidating admirable phenomena, scattering the text with fabulous indices in order to invite readers to interpret them in a higher sense.

Title supplied by cataloguer from accompanying Statement of submission. / Includes bibliographical references (p. 451-467) and index. / Has accompanying Statement of submission letter and application for candidature which includes a list of other publications by the author and details of works proposed for the submission. / 2 v. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Published texts submitted for doctorate are in French. / Thesis (D.Litt.)--University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006