Ph.D. Faculty of Humanities, University of the Witwatersrand, 2011 / This study analyses the manner in which animals are represented in selected poetry from Malawi, Zimbabwe and South Africa. It discusses the various modes of animal representation the poets draw on, and the ideological influences on their manner of animal representation. It explores the kinds of poetic forms the poets employ in their representation of animals and examines the manner in which ecological or environmental issues are reflected in the poetry. Further, the study determines the extent to which the values expressed in the poems are consistent with, or different from, current ecological orthodoxies and the ways in which the metaphors generated in relation to animals influence the way we treat them. The study shows that in the selected poetry animals occupy a significant position in the poets’ exploration of social, psychological, political, and cultural issues. As symbols in, and subjects of, the poetry animals, in particular, and nature in general, function as tools for the poets’ conceptualisation and construction of a wide range of cultural, political, and philosophical ideas, including among others, issues of justice, identity, compassion, relational selfhood, heritage, and belonging to the cosmos. Hence, the animal figure in the poetry acts as a site for the convergence of a variety of concepts the poets mobilise to grapple with and understand relevant political, social, psychological and ecological ideas. The study advances the argument that studying animal representation in the selected poetry reveals a range of ecological sensibilities, as well as the limits of these, and opens a window through which to view and appreciate the poets’ conception, construction and handling of a variety of significant ideas about human to human relationships and human-animal/nature relationships. Further, the study argues that the poets’ social vision influences their animal representation and that their failures at times to fully see or address the connection between forms of abuse (nature and human) undercuts their liberationist quests in the poetry.

Les Eschés amoureux, poème allégorique de trente mille vers datant de 1370-1380, se présentent comme une réponse au Roman de la Rose, en rejouant notamment l’intrigue sur un échiquier. Conservé dans deux manuscrits inachevés, encore largement inédit, ce texte a rapidement été éclipsé par son commentaire en prose, Le Livre des eschez amoureux moralisés, rédigé par Évrart de Conty, médecin personnel de Charles V. La récente attribution des Eschés amoureux à ce même auteur hisse le poème initial au rang d’œuvre destinée à être (auto-)commentée ; cette auto-exégèse est déjà esquissée dans l’un des témoins du texte en vers, qui comprend un apparat de gloses marginales latines participant d’un projet auctorial. Les Eschés amoureux articulent ambition narrative et transmission de connaissances variées, en intégrant notamment en leur sein deux traductions d’auctoritates, les Remedia amoris d’Ovide et le De regimine principum de Gilles de Rome. Ils offrent une mise en fiction du savoir singulière, réservant souvent ce qui fonde l’autorité du discours à un commentaire à venir. Cette présente étude s’attache à examiner les stratégies de divulgation du savoir par le biais d’un récit à la fin du XIVe siècle, en analysant notamment les modèles investis par Les Eschés amoureux, l’assemblage d’éléments hétéroclites qui préside à l’élaboration de cette fiction et la fonction dévolue au commentaire. / The Eschés amoureux, a thirty thousand verse allegorical poem written circa 1370-1380, comes as a response to the Romance of the Rose, notably playing the initial plot on a chessboard. The text can be read in two incomplete manuscripts and is still mostly unedited. It was quickly outshone by its prose commentary, Le Livre des eschez amoureux moralisés, written by Évrart de Conty, King Charles V’s personal physician. The fact that the Eschés amoureux was recently attributed to this very same author pushes the initial poem to the rank of a work that requires (self-)commentaries; the outline of this self exegesis is to be found in one of the verse manuscripts, which comes with latin marginal glosses of major and auctorial importance. The Eschés amoureux connects a narrative project to the transmission of knowledge, inserting within the poem two translations of auctoritates, the ovidian Remedia amoris and the De regimine principum by Giles of Rome. It provides a peculiar fictionalization of knowledge, often setting aside the authoritative part of the discourse and keeping it for a forthcoming commentary. The present dissertation intends to analyze the ways knowledge was conveyed through narrative at the end of the XIVth century; it considers the models involved for this specific text, the miscellaneous items brought together in one single fiction and the part played by the commentary.

The presented diploma thesis is dedicated to the Czechoslovak paper money is-sued after 1948 until 1989, which is used as a source of historical memory. On paper money is mainly investigated their thematic content, which passed for their development time significant changes and that reflected important needs of the communist regime. The basic source for research this theme is paper money of defined period with taking into account the pre-war paper money because of their comparison. In addition, consideration is given to archival sources, contemporary posters, films, literature, songs, etc. The main target of this work is to determine how paper money reacted to the change of the political system after 1948 and how it was reflected by the users them-selves. It will also be monitored the rise of Soviet influence, sphere of allegorical humor and reflection of artistic community.

Made available in DSpace on 2016-12-23T14:34:15Z (GMT). No. of bitstreams: 1 Adriana Vieira de Souza.pdf: 578214 bytes, checksum: efd8c9207e40c2dcb84ae73c6c94830e (MD5) Previous issue date: 2011-08-04 / The objective of this research is the analysis of textual features worked by José Saramago, the allegorical structure of his novel Ensaio sobre a cegueira (1995). It presents a review of the theoretical concept of allegory, considering its origins, forms and subdivisions, and points out the similarities and the imbalance between allegory and other figures of speech. This sort of historical allegory: "allegory of poets" and "allegory of theologians." It highlights the opposition between symbol and allegory, promoted by the romantics and focuses on the concept of "allegorical reading." It points to the allegorical elements present in the narrative: the words that illustrate his own title, the intertextuality with the sayings, the characters, the narrator and narrative spaces. Based on studies of Walter Benjamin, Kothe Flávio, João Adolfo Hansen, Mikhail Bakhtin and Marc Augé, seeks to highlight the novel by Saramago as a place for questioning the man in the world / O objetivo desta pesquisa é a análise das características textuais trabalhadas por José Saramago, na estrutura alegórica de seu romance Ensaio sobre a cegueira (1995). Para isso, realiza uma revisão teórica do conceito de alegoria, considerando sua origem, formas e subdivisões, e aponta as semelhanças e as desproporções entre alegoria e outras figuras de linguagem. Trata da classificação histórica da alegoria: alegoria dos poetas e alegoria dos teólogos . Destaca a oposição entre símbolo e alegoria, promovida pelos românticos e enfoca o conceito de leitura alegórica . Pontua os elementos alegóricos presentes na narrativa: nos vocábulos que ilustram o seu próprio título, na intertextualidade com os ditos populares, nas personagens, no narrador e nos espaços narrativos. Fundamentada nos estudos de Walter Benjamin, Flávio Kothe, João Adolfo Hansen, Mikhail Bakhtin e Marc Augé, busca ressaltar o romance de Saramago como espaço de questionamento do homem no mundo

In 1776, war broke out in the Colonies of New England between British Subjects, colonists, and those emplyed by the crown to uphoald law and order across the Atlantic. The union that wuld emerge from the war would have to develop what the colnial powers they migrated from had been adding on for centuries: an understanding of national character. The colonists occupied territory to which they had no historical inheritance before European colonization, and their customs, language, and societal structure were of British origin. However, the decleration of indpendence testifies that the United States were an exceptional republic amongst monarcies.  Providing ideas, and a popular elaboration of society has been the task of many artists at any time and place. Our different perceptions of nationhood might discard of accept such visual interpretations, but they are nonetheless subjected reflections of of selected realities. As such, political cartoons, the source material for this thesis, can provide a detailed view of the particular process of picturing national identity, for a new nation that rescently had existed within the bounduries of their own empire.

This thesis is a context-sensitive study of key epistemological commitments and concerns presented in Philo’s two series of exegetical writings. The major conclusion advanced in this thesis is that two theological epistemologies, distinct yet related, can be detected among these writings. The first epistemology is specific to the Allegorical Commentary. The second epistemology is specific to the ‘Exposition of the Law.’ The epistemology of the Allegorical Commentary reflects a threefold conviction: the sovereignty of God, the creaturely contingency of the human mind and its inescapable limitations. In conversation with key epistemological notions of his day, Philo develops this threefold conviction in exegetical discourses that are grounded in Pentateuchal texts portraying the God of Moses as both possessing epistemic authority and aiding the aspiring mind to gain purification and perfection in the knowledge of God. Guided by this threefold conviction, Philo enlists key metaphors of his day – initiation into divine mysteries and divine inspiration, among others –in order to capture something of the essence of Moses’ twofold way of ascending to the divine, an approach which requires at times the enhancement of human reason and at other times the eviction of human reason. The epistemology of the ‘Exposition’ reflects Philo’s understanding of the Pentateuch as a perfect whole partitioned into three distinct yet inseverable parts. Philo’s knowledge discourses in the ‘creation’ part of the ‘Exposition’ reflect two primary movements of thought. The first is heavily invested with a Platonic reading of Genesis 1.27 while the second invests Genesis 2.7 with a mixture of Platonic and Stoic notions of human transformation and well-being. Philo’s discourses in the ‘patriarchs’ segment reflect an interest in portraying the three great patriarchs as exemplars of the virtues of instruction (Abraham), nature (Isaac), and practice (Jacob) which featured prominently in Greek models of education. In the ‘Moses’ segment of the ‘Exposition,’ many of Philo’s discourses on knowledge are marked by an interest in presenting Moses as the ideal king, lawgiver, prophet and priest who surpasses Plato’s paradigm of the philosopher-king. In keeping with this view, Philo insists that the written laws of Moses represent the perfect counterpart to the unwritten law of nature. The life and laws of Moses serve as the paradigm for Philo to understand his own experiences of noetic ascent and exhort readers to cultivate similar aspirational notions and practices.

Considering that during the Baroque there was arguably nothing more enigmatic than the emblematic tradition, this thesis discusses how emblems played a role in the configuration of subjectivities in New Spain and, more precisely, in their production of symbolic imagery. Through the analysis of the poetic, political, and philosophical functions of the 1680 Neptuno alegórico (Allegorical Neptune), this this study discusses the concepts of "emblem,"ekphrasis"," "syncretism," and "neoplatonic tradition" in one of the most rethorical and multifaceted texts of the humanist writer and Hieronymite nun sor Juana Inés de la Cruz (1648-1695). / Graduate / mplundin@gmail.com

Un objet ancien dont on ne se sert plus aujourd’hui continue cependant de vivre dans notre vie contemporaine. Il se présente à nous avec un autre fonctionnement et souvent avec une autre définition : ce n’est plus l’objet utile ni l’outil pratique qu’il a été. Dans cette thèse, la valeur de l’objet ancien est étudiée dans sa dimension immatérielle et spirituelle. Ainsi nous renouvellerons sa définition en réfléchissant sur son essence et sa forme d’un point du vue contemporain. La première partie de cette thèse présente les concepts de la valeur de l’objet ancien de nos jours sous un angle sociologique. Ensuite, nous proposons une approche du concept de l’objet ancien comme une chose mi-humaine mi-objet. Puisqu’un objet ancien d’une autre époque possède toujours en lui cette vie de l’époque révolue, est-ce que cet objet peut vivre comme s’il était une chose animée ? Dans la seconde partie, nous avons recherché quelles caractéristiques pouvaient donner à l’objet ancien cette sensation de vie humaine ? Peut-être tout d’abord les traces des gens qui se sont accumulées sur lui visiblement et invisiblement ? La notion coréenne de « sonté » nous a permis de traduire et d’exprimer ces traces visibles et invisibles sur l’objet ancien. Dans la dernière partie, l’objet ancien est étudié dans le domaine de l’art contemporain. Les artistes contemporains voient l’objet ancien comme un nouvel objet et lui donne une autre forme et une autre essence qui, bien souvent, est une allégorie de la destinée humaine. / An ancient object that is no longer in use today continues however to survive in our contemporary life. It is presented to us with another function and often with another definition: it is no longer the useful object nor the practical tool that it used to be. In this dissertation, the value of the ancient object is studied in its immaterial and spiritual dimensions. We will thus renew its definition by reflecting on its essence and form from a contemporary viewpoint. The first part of the dissertation presents the concepts around the value of the ancient object in our time from a sociological angle. Next, we propose an approach to the concept of the ancient object as half-human and half-object. Since an ancient object from another era always keeps within itself its life in the period gone by, could this object exist as if it were an animated entity? In the second part, we have sought what characteristics could offer the ancient object this sensation of human life. Perhaps, first of all, the traces of people that it has accumulated visibly and invisibly? The Korean notion of “sonté” allows us to translate and express these visible and invisible traces on the ancient object. In the last part, the ancient object is studied in the field of contemporary art. Contemporary artists see the ancient object as a new object and give it another form and another essence which often is an allegory of human destiny.

Edward Bouverie Pusey once towered over nineteenth-century British theology, but he has now fallen into almost entire insignificance. However, analysis of this decline (Chapter 1) leads to a reassessment. His development—especially his complicated relationship with pre-Tractarian High Church Anglicanism—shows a deep criticism of post-Enlightenment intellectual trends, from his early years through his association with the Oxford Movement and the Tracts for the Times, to the end of his life (Chapter 2). This criticism led him to the patristic use of allegory, both as a biblical hermeneutic and as a creative, complex, image-based approach to theology (Chapter 3). His development of High Church theology (seen especially through comparison with Waterland) and his use of allegory can be traced throughout his theology. His understanding of union with Christ and theosis reveals both: the sacraments have a strong symbolic dimension, while his positions on baptismal regeneration and the real presence of Christ in the Eucharist show a development rather than a rejection of earlier High Church theology (Chapters 4 and 5). His understanding of the atonement blends High Church reliance on sacrificial types with his unitive theology to reconfigure traditional satisfaction theory as restoration of love for God, rather than redemption from punishment—a position which marks Pusey as an important transitional figure in 19th c. theology (Chapter 6). The flexibility of Pusey's allegorical approach also allows him to blend a High Church tradition of spiritual sacrifice with sacramental participation in Christ's self-offering, so that sacrifice becomes an aspect of union with Christ (Chapter 7). Pusey's use of allegory shows similarities to postmodern theology, while his development of High Church theology shows his originality (Chapter 8).

Tenter de cerner le concept de ‘’personnage poétique’’ dans Les Fleurs du Mal et Le Spleen de Paris et essayer d’en déduire les fonctions et les significations, tels sont les objectifs du présent travail. Un processus de conceptualisation fait l’objet de notre première partie qui s’appuie sur les critiques existantes à ce sujet pour donner les statuts adéquats aux êtres peuplant ces deux œuvres. On s’est proposé de voir à travers des exemples précis le traitement que réserve l’œuvre baudelairienne à ce concept, notamment quand il s’agit de passer du poème en vers au poème en prose. Ainsi, des notions limitrophes ont émergé au fil de notre analyse, comme la notion de “figure allégorique” ou “mythique”. Parler de ‘’personnage poétique’’ est donc fort délicat surtout à l’aune de la variation générique qui impose des nuances contraignantes. Mais le fait est là : nous pensons légitime d’attribuer le statut de personnage à certains des sujets qui traversent Les Fleurs du Mal ou Le Spleen de Paris. En effet, ils sont définissables suivant les critères réservés généralement au personnage à savoir, le faire, le dire, la dimension psychologique. Néanmoins, ce statut n’est pas aussi évident quand on constate que dans ces deux œuvres le même sujet peut parfois conjointement relever du traitement de personnage et de figure. Ce travail étant réalisé, notre tâche était d’étudier les fonctions de ces ‘’personnages’’ et de ces ‘’figures’’ dans le cadre de l’esthétique générale de Baudelaire. Dès lors, on a pu voir un processus de dédoublement et de dialogisme se déclencher entre le poète et ses alter ego, qui incarnent ses revendications et ses convictions esthétiques avant-gardistes. / The objectives of the present work are attempting to define the concept of'' poetic character” in'' Les Fleurs du Mal” and” Le Spleen de Paris” as well as trying to deduce the functions and meanings implied in that concept. A process of conceptualization will be our first part .This part will rely on existing critics on this subject to finally give the appropriate statutes to creatures inhabiting these two works. We suggested to study through specific examples the way the works of Baudelaire treat this concept particularly when it comes to moving from free verse poem to prose poem. Thus, adjacent concepts have emerged in the course of our analysis such as the notion of mythical or allegorical figure. Talking about '' poetic character “is so delicate especially in this generic difference that imposes binding shades of meaning. But the fact is that we were able to grant the status of characters to many creatures whether in ‘Les Fleurs du Mal ‘or in ‘Spleen de Paris’. In fact, they can be defined according to the criteria usually reserved to character i.e., do, say, the psychological dimension… However, this status is not that evident when we notice that in these two works the same creature could sometimes jointly be treated as character and figure. Once this work was done, our task was to study the functions of these'' characters'' and '' figures'' in the context of the overall aesthetics of Baudelaire. Consequently, we could see a process of duplication and dialogism between the poet and his creatures. Tackled as his doubles; these creatures embody the poet’s claims and his avant-gardist aesthetic convictions.