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L'émergence d'un « 'esprit' capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l'usure et de l'intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l'époque, plus particulièrement chez les dramaturges qui ont marqué l'imaginaire collectif en mettant en scène des personnages avares. À partir d'un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l'Occident chrétien, l'appréhension nouvelle de l'argent comme objet et comme signe permet de construire une véritable figure moderne de l'avarice. Les protagonistes de chaque pièce, Shylock, Volpone (Mosca) et Harpagon, sont suspendus entre un or quasi divin, et l'univers plus ou moins connu de l'argent, medium en passe de devenir l'équivalent universel de tout bien, qu'ils pensent maîtriser grâce à leur trésor. S'ils s'intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » des valeurs (Simmel) suscitée par l'économie de l'usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L'analyse des dénouements permet dès lors de comprendre le travail de chaque auteur sur la forme et la fonction de la comédie, à travers le texte, les genres, ou une esthétique de l'espace. Elle montre que chacun s'attache à valoriser l'apport de son art au public, dans une période de crise socio-économique. / The emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice. Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis. / Réalisé en cotutelle avec l'Université de Paris Ouest Nanterre La Défense

Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudo da Linguagem / Made available in DSpace on 2018-08-14T02:37:41Z (GMT). No. of bitstreams: 1 Giammarco_ThaisMaria_M.pdf: 836335 bytes, checksum: b775f67546a5b131746e2e35237bd2f3 (MD5) Previous issue date: 2009 / Resumo: Frente à escassez de traduções da obra de Christopher Marlowe para o português, este trabalho tem o objetivo de apresentar uma proposta de tradução da peça Dido, Queen of Carthage, do dramaturgo elisabetano. O primeiro capítulo traz uma breve análise da obra, comparando-a com os dois principais textos que serviram como base para sua composição, a saber, a Eneida, de Virgílio, e As Heróides, de Ovídio, e, à luz do conceito latino de imitatio, defende a originalidade do texto, em detrimento de um caráter tradutório que lhe atribuem alguns críticos, ratificando, dessa maneira, a validade da empresa a que se propõe este trabalho. No segundo capítulo, faz-se uma distinção entre os sistemas poéticos do português e do inglês, bem como uma exposição das dificuldades de tradução que um texto deste tipo acarreta, seguida de uma apresentação das estratégias empregadas na resolução de tais dificuldades, ilustradas por exemplos extraídos da tradução. O terceiro capítulo compõe-se do texto traduzido, interpolado com o original e acrescido de notas de rodapé / Abstract: Due to the lack of works by Christopher Marlowe translated into Portuguese, this paper aims at presenting a translation proposal to the Elizabethan playwright's Dido, Queen of Carthage. Its first chapter brings a brief analysis of the play, comparing it to two of the principal texts that served as bases for its composition, namely, Virgil's epic Aeneis, and Ovid's Heroides, and, based on the latin concept of imitatio, supports the originality of the text, in opposition to a translation work status attributed to it by some critics, thus confirming the validity of this translation. In the second chapter, there is a distinction between the poetic systems of Portuguese and English, as well as an exposition of the difficulties involved in the translation process of a text such as this one, followed by a presentation of the strategies used to solve these difficulties, illustrated by parts of the translation. The third chapter is composed by the translated text into Portuguese, intertwined with the original text in English, furnished with footnotes / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T08:54:47Z (GMT). No. of bitstreams: 1 Closel_RegisAugustusBars_M.pdf: 2038312 bytes, checksum: 7c1b1af36416b37e4e7597571df3f57d (MD5) Previous issue date: 2011 / Resumo: A presente dissertação tem por objetivo propor um diálogo entre duas obras dramáticas de grande significância, Ricardo III e As Troianas, no cânone de seus autores, respectivamente, William Shakespeare (1564 - 1616) e Lucius Annaeus Sêneca (4 a.C - 65 d.C). A premissa inicial é a relação tradicional entre ambos, que atribui ao tragediógrafo elisabetano uma influência textual, temática e estilística originária do filósofo e tragediógrafo latino. Para o estudo dessas relações, limitadas ao escopo de duas obras, o trabalho foi dividido em três partes. No primeiro capítulo é realizado um percurso sobre toda a historiografia da crítica da influência que Sêneca teria exercido sobre os dramaturgos que escreveram durante a segunda metade do século XVI, na Inglaterra. Observa-se, principalmente, como a visão e a metodologia de se tratar o tema da influência se altera, ao longo dos anos, chegando, por exemplo, a ser negada por alguns críticos durante certo tempo, além da observação do delineamento do próprio objeto. Toma-se o cuidado, durante todo o trabalho de não fazer opção a favor ou negar a presença de Sêneca para não incorrer em extremismos. No segundo capítulo, busca-se, com base nos resultados do primeiro capítulo, a leitura histórica dos elementos temáticos e estilísticos lidos como derivados de ou influenciados por Sêneca. Neste ponto o foco distancia-se do campo de discussão crítica do fenômeno para o campo de crítica histórico-literária e os objetos focados, agora, são exatamente aqueles que anteriormente foram levantados como ?"senequianos". No terceiro capítulo, conhecida a história da influência e tendo sido feita uma gama de opções e leituras sobre a época de Shakespeare, inicia-se a leitura das duas obras. Tal abordagem preambular se fez necessária para que houvesse um embasamento tanto da crítica da discussão da influência, como da leitura histórica da cultura que produziu Ricardo III. Foi feita a opção de seguir com a leitura de René Girard sobre os conceitos de Teoria Mimética e Crise de Diferenças, pois tocam em noções basilares do mundo Elisabetano, apresentando, portanto, uma atmosfera na qual os diálogos poderiam situar relações de aproximação e afastamento entre a dupla de obras escolhida. Observa-se uma leitura mítica, muito rica politicamente, ao trabalhar com a história/mito conhecidos por ambas as obras / Abstract: This dissertation aims to propose a dialogue between two dramatic works of great importance, Richard III and Trojan Women, both canonic for their authors, respectively, William Shakespeare (1564 - 1616) and Lucius Annaeus Seneca (4 BC - 65 AD). The initial premise is the traditional relationship between them, which presupposes that the Elizabethan tragedies have textual, thematic and stylistic influence of the Latin philosopher and tragedian. In order to study these relationships, restricted to the scope of the two referred plays, the dissertation was divided into three parts. The first chapter is about Seneca's influence on playwrights who wrote along the second half of the sixteenth century in England. It focuses mainly the vision and methodology used to study the issue of influence and changes of views over the years, reaching, for example, the fact that the influence was denied by some critics for some time. It also observes the outline of the object - the relation between plays - itself. Along these considerations, I was aware that I should not propose or deny the influence of Seneca in order not to incur in extremism. The second chapter, based on the results of the first chapter, seeks to read the historical interpretation of stylistic and thematic elements as derived from or influenced by Seneca. At this point, the analysis moves away from the critical discussion to approach the field of historical and literary criticism. The focused objects are exactly those that have previously been raised as "senequians", like the blank verse, the tyrant and the presence of ghosts. In the third chapter begins the interpretation of both tragedies. This preliminary approach was necessary in order to have a critical foundation for the discussion of influence, as that one produced by historical reading of Richard III. The mimetic theory of René Girard and the Crisis of Differences offered fundamental notions for the Elizabethan world, which presented interlocution between both tragedies, so that it was possible to examine approaches and distances between the two chosen plays. It was observed a very rich mythical and political relation among the plays using the known versions of history/myth / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

This thesis resulted from an examination of the influence of witchcraft superstitions upon Elizabethan-era dramas.

Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.

By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.

For at least the past two decades, international Anglicanism has been gripped by a crisis of identity: what is to be the dynamic between autonomy and interdependence? Where is authority to be located? How might the local relate to the international? How are the variously diverse national churches to be held together 'in communion'? These questions have prompted an explosion of interest in Anglican ecclesiology within both the church and academy, with particular emphasis exploring the nature of episcopacy, synodical government, liturgy and belief, and common principles of canon law. However, one aspect of Anglican ecclesiology which has received little attention is the place of provincial polity and metropolitical authority across the Communion. Yet, this is a critical area of concern for Anglican ecclesiology as it directly addresses questions of authority, interdependence and catholicity. However, since at least the twentieth century, provincial polity has largely been eclipsed by, and confused with, the emergence of a dominant 'national church' polity. This confusion has become so prevalent that the word 'province' itself is used interchangeably and imprecisely to mean both an ecclesial province in its strict sense and one of the 39 'member- churches' which formally constitute the Anglican Communion, with a handful of 'extra-provincial' exceptions. The purpose of this research project is to untangle this confusion and to give a thorough account of the development of provincial polity and metropolitical authority within the Communion, tracing the historical origins of the contemporary status quo. The scope of this task is not in any way intended to be a comprehensive history of the emergence of international Anglicanism, but rather to narrowly chart the development of this particular unit of ecclesial polity, the province, through this broader narrative. The historical work of Part One in itself represents an important new contribution to Anglican Studies; however, the project aims to go further in Parts Two and Three to identify from this context key questions concerning the problems facing contemporary Anglican polity as the basis for further theological and ecclesiological reflection. Part Two examines how provincial polity has given way to an assumption of the 'national church' as the building block of the Communion. To what extent is it consonant with Anglican tradition? How is it problematic? What tensions exist with a more traditional understanding of the province? How might all this relate to wider political understandings and critiques of the 'nation- state' in an increasingly globalised world? Along with the emergence of a 'national church' ecclesiology, so too has the role of the 'Primates' been magnified. Part Three charts this development, culminating in a critique of the recent 2016 Primates' Meeting. What is the nature of primacy within Anglicanism and how does it relate to metropolitical authority? What is the right balance of honour and authority as it relates to primacy? How do Anglican understandings of primacy correspond to those of the Roman and Orthodox Communions? Finally, Part Four attempts to give some concrete focus to the preceding discussion through the illustrative example of the Anglican Church of Australia, which is frequently cited as being analogous to the Communion in having a loose federal system and resolutely autonomous dioceses. The prevalence of this 'diocesanism' has recently been criticised by the Royal Commission into Institutional Responses to Child Sexual Abuse. However, there has been a recent revival of provincial action within the Province of Victoria in response to these issues which will be evaluated to discern what the Australian example might offer toward a theologically robust and credible ecclesiology for Anglicanism into the twenty-first century.

My dissertation focuses on representations of women and ritual on the Renaissance stage, situating such examples within the context of the Protestant Reformation. The renegotiation of the value, place, and power of ritual is a central characteristic of the Protestant Reformation in early modern England. The effort to eliminate or redirect ritual was a crucial point of interest for reformers, for most of whom the corruption of religion seemed bound to its ostentatious and idolatrous outer trappings. Despite the opinions of theologians, however, receptivity toward the structure, routine, and familiarity of traditional Catholicism did not disappear with the advent of Protestantism. Reformers worked to modify those rituals that were especially difficult to eradicate, maintaining some sense of meaning without portraying confidence in ceremony itself. I am interested in how early Protestantism dealt with the presence of elements (in worship, daily practice, literary or dramatic representation) that it derogatorily dubbed popish, and how women had a particular place of importance in this dialogue. Through the drama of Shakespeare, Webster, and Middleton, along with contemporary religious and popular sources, I explore how theatrical representations of ritual involving women create specific sites of cultural and theological negotiation. These representations both reflect and resist emerging attitudes toward women and ritual fashioned by Reformation thought, granting women a particular authority in the spiritual realm.