The aim of this thesis is to suggest a model of development for the writings of Richard Rolle, based on the hermit's application of the theological concept of election. The thesis falls into three parts, corresponding broadly to the early, middle and late phases of Rolle's career. Chapter One charts Rolle's attempts to define the credentials of the electi in terms of the contemplative life in the early Judica me Deus, and points to certain tensions in Rolle's approach to the pastoral manual form. Chapter Two examines Rolle's subsequent attempts in the Tractatus super Apocalypsim to clarify the relationship of the electi to the signs hidden in Scripture and in phenomena, and places this within the teleological framework of the Apocalypse. Chapter Three begins with the Canticum Amoris lyric and leads to the Super Canticum Canticorum, Rolle's Commentary on the Song of Songs, in an attempt to show the movement from the experimental Marian focus of the lyric to the explicit Christological emphasis of Rolle's middle period. By reference to Augustine and to Bernard of Clairvaux, the latter part of the chapter attempts to show the influence of the concept of election in this movement. Using the Contra Amatores Mundi treatise as a focus, Chapter Four examines Rolle's pervasive sense of the universal movement in which the contemplative life plays a pre-ordained part, and considers the ways in which this teleological analysis defines the experience of contemplation. Chapter Five returns to the Super Canticum Canticorum, and examines the stylistic manifestations of Rolle's belief in the predestined purpose and authority of his writings. With reference to Ciceronian and Augustinian principles of rhetoric, this chapter points to Rolle's growing sense of his own writings as possessing a performative, para-liturgical function. This movement reaches its fullest expression in the Melos Amoris, and this rhetorical development is related, in Chapter Six, to Rolle's increasing assurance of his status as an electus. Dealing with the final phase of the hermit's career, after 1343, Chapter Seven considers Rolle's Latin Emendatio Vitae and English writings, in an attempt to explain the apparent disappearance of the ideas and themes that have hitherto shaped Rolle's development; the latter part of the chapter argues that these have been incorporated within the famous `three degrees' of love

Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Jose Paulo Coelho Faradji Chadan.pdf: 375540 bytes, checksum: ab7fc5b38b7db201759793336d7aa00a (MD5) Previous issue date: 2013-09-27 / The dissertation wich the reader has in its hands concerns my master dissertation about the contemplation in the Cloud of Unknowing. The Cloud of Unknowing belongs to the late medieval period (XIV century), and was probably written by a cartusian monk, as a method of teaching a young man, probably around twenty-four years old, about the contemplative life. In his writing, the author compares the contemplative life to two important biblical figures. First he compares it to Mary, that having received Jesus in her house, listens to him patiently, unlike Martha, her sister, that goes about preparing his supper. Next the author compares contemplative life, to Moses, wich with a lot of effort, climbs to the top of the mountain and sees a great cloud. Mary´s passage reports to the gospel according to Luque chapter 10, verse 38-42. Moses passage belongs to the book of Exodus, chapter 24. Mary is compared to her sister Martha. The first one represents the contemplative life, while the second one represents an active life. Moses is compared to Aaron, the last one representing a person wich with little effort and by divine grace contemplates the lord, while the first one is only capable of the same with a lot of effort. We approach the degrees of ascension to the contemplative life: the purgative path; the progressive and the contemplative one. The first degree refers to the active life while the second one refers to the active and contemplative lifes. In its turn the third level relates only to the contemplative life. The active life, being the path lived according the works of mercy and charity, as well as contemplation. Is the search of the spirit becoming closer to God through silence, solitude and loving desire / O trabalho que o leitor tem em mãos, trata da minha dissertação de mestrado acerca do tema da contemplação na Nuvem do Não-Saber. A Nuvem do Não-Saber é uma obra que data do medievo tardio (séc. XIV), tendo sido escrita provavelmente por um monge cartuxo, como modo de ensinar a um jovem em torno de vinte e quatro anos, acerca da vida contemplativa. Na obra, o autor compara a vida contemplativa a duas importantes personagens bíblicas: em primeiro lugar, compara-a a Maria, que tendo recebido Jesus em sua casa, senta-se a fim de, paciente e atenciosamente, ouvi-lo, diferentemente de Marta (sua irmã), que se apressa em preparar-lhe a refeição. Em segundo lugar, mas tão importante quanto, compara a vida contemplativa a Moisés que, com muito esforço, sobe ao cume do monte e vê ali, uma grande nuvem. A passagem de Maria reporta-se ao Evangelho de S. Lucas, no capitulo 10, versos 38- 42, já a passagem de Moisés reporta-se ao livro do Êxodo, no capítulo 24. Maria é contraposta a sua irmã Marta. Esta, representando a vida ativa, e aquela, a vida contemplativa. Já Moisés é contraposto a Aarão. Este, representando a pessoa que, sem muitos esforços e por divina graça, chega à perfeita contemplação assim que o quer, e aquele, só o consegue depois de muitos esforços. Abordamos então, os três graus de ascensão à vida contemplativa: a via purgativa, a via progressiva e a via contemplativa ou apofática. O primeiro grau, respectivo à vida ativa, e o terceiro grau, respectivo à vida contemplativa, sendo o segundo grau, intermediário (partícipe) tanto da vida ativa quanto da vida contemplativa. A vida ativa, sendo a vida vivida segundo as obras corporais de misericórdia e caridade e a vida contemplativa, sendo a busca do espírito em unir-se a Deus, por meio do silêncio, da solidão e do desejo amoroso

Bien qu’il ait inspiré des contemporains plus célèbres, tels François Rabelais et Clément Marot, et fréquenté des humanistes de premier plan, bien qu’il soit l’auteur d’une forme de tragédie latine inédite et maintes fois rééditée, et d’une chronique du règne de Louis XII connue des historiens, le poète néo-latin Nicolas Barthélemy de Loches est resté parfaitement méconnu. Il est ainsi nécessaire de rassembler, corriger et compléter les données dont on peut disposer sur ce personnage et ses oeuvres, mais aussi de reconstituer le cadre social, littéraire et historique dans lequel il a vécu et composé, afin de réévaluer la diversité et la richesse poétique de ses oeuvres. Ces données suffisent à montrer que les écrits de Barthélemy ne sont pas ceux d’un moine cloîtré, mais bien plutôt ceux d’un véritable humaniste engagé dans les réformes de son temps, qu’elles soient pédagogiques, monastiques ou évangéliques. L’édition d’un des recueils poétiques de Barthélemy les plus représentatifs de sa production littéraire (le recueil varié paru à Paris en 1520) vient nourrir et confirmer cette lecture. / Although he inspired famous contemporaries like François Rabelais or Clément Marot, and spent time with leading humanists, although he wrote a new Latin tragedy form many times reprinted and a chronicle about the reign of Louis XII familiar to historians, very little is known about the Neo-Latin poet Nicolas Barthélemy de Loches. Collecting, correcting and completing existing data about the man and his writings is necessary, as well as the reconstruction of the social, literary and historical environment in which he lived and wrote, in order to reevaluate the poetic diversity and richness of his work. Such data are enough to show that Barthélemy’s works were not written by a cloistered monk, but rather by a true humanist involved in the pedagogical, monastic and evangelical reforms of his time. The edition of one of the most representative poetic collections written by Barthélemy (a varied collection printed in 1520 in Paris) supports and confirms this interpretation.

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