This thesis provides a revisionist account of the relationship between Latin biblical criticism, vernacular religious culture and Reformed doctrines of scriptural authority in the early modern period. It achieves this by studying episodes from the career of the English Hebraist Hugh Broughton (1549-1612). Current orthodoxy holds that Broughton's devotion to the tenets of Reformed scripturalism distinguished him from contemporary biblical humanists, whose more flexible attitudes to the Bible enabled them to produce cutting-edge scholarship. In challenging this consensus, this thesis focusses on three areas. The first is chronology. Recent work has presented chronology as divided between technical, philological practitioners, who drew from astronomy and humanism alike in their efforts to date the past, and scripturalists, who relied on the Bible alone. Using the chronological controversy between Broughton and the Oxonian John Rainolds, this thesis complicates this picture by arguing that both approaches to the discipline were equally derived from humanistic traditions, and that confessional, rather than intellectual or methodological, factors informed the most important decisions chronologers made. The second area is biblical criticism. There is still a broad assumption that Reformed beliefs about scripture were incompatible with the most advanced biblical scholarship. This thesis questions such assumptions by reconstructing Broughton's research into the Hebraic contexts of the New Testament. By demonstrating that it was possible to produce innovative and influential work without challenging and indeed, while endorsing the principles of Reformed scripturalism, this thesis disputes current teleological presumptions about the development of modern, historical biblical criticism. The third is the history of lay reading. Both chronology and biblical criticism have often been viewed as specialised pursuits, studied only by a Latin-reading elite and irrelevant to lay people. For Broughton and his followers, however, biblical scholarship and lay piety were inseparable. The thesis demonstrates this by piecing together Broughton's radical plans for a new English Bible, including his work with John Speed on biblical genealogy, and his revisions of the Geneva New Testament. Using numerous neglected manuscript sources, it gives an account of the sixteenth-century biblical translation that foregrounds the unexpected ways in which groundbreaking neo-Latin, continental biblical scholarship expanded scholars' concepts of what vernacular translation could achieve.

This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.

ix, 242 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Modernism's fragmented literary style has been called "an art of cities." My project challenges such conventional understandings by exposing a strain within modernism that expresses an awareness of a broader phenomenological world. In the work of E.M Forster, Virginia Woolf, and W.H. Auden, non-human presences are often registered through a character or speaker's innate sensory perception of their surroundings--what I call embodied modernism. Maurice Merleau-Ponty's ecophenomenology theorizes the intercorporeality of humans and the environment in ways that help elucidate this aspect of their work. Merleau-Ponty uses the phrase "flesh of the world" to explain the body as an open circuit embedded within the stimuli of larger environmental impulses. The uncertainty stirring within modernism's formal disruptions, the sensory impressions revealed by stream of consciousness techniques, as well as the robust fusion of latent emotions and unspoken associations that result in a memorable image or symbol invite ecophenomenological readings. Chapter I, "Passage From Pastoral: E.M. Forster," traces a developing phenomenological awareness that is only fully manifested through the formal innovation of Forster's modernist novel, A Passage to India , where landscape intervenes to direct the action of the plot. My second chapter, "The Phenomenological Whole: Virginia Woolf," analyzes how her use of personification provocatively disrupts anthropocentrism in "Kew Gardens" and Flush. Her conception of a more-than-human world also complicates elegiac readings of To the Lighthouse by positioning nature not as a sympathetic minor for humans, nor an antagonistic foil, but rather as a presence that intertwines with human life and renews embodied creativity. "Brute Being: W.H. Auden" shows how Auden's later poems create a lexicon of common cultural assumptions about human identity in a firmly ordered relation with the world but combat their own hermeneutics by slipping towards the opposite binary in any dialectic the poem presents, whether it be scientific order and organic chaos, nature and culture, or human observer and non-human subject. Analyzing the work of Forster, Woolf, and Auden from the embodied perspective of Merleau-Ponty's ecophenomenology both challenges conventional definitions of modernism and expands ecocritical theory. / Adviser: Louise Westling

Orientador: Osmar Ribeiro Thomaz / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T06:03:51Z (GMT). No. of bitstreams: 1 Oliveira_ArthurRovidade_M.pdf: 4021966 bytes, checksum: 0fc70b67b946b00cf18f3f71ef8a10c5 (MD5) Previous issue date: 2008 / Resumo: A nação e a nacionalidade cultural, tendo-se como destaque o Estado de Moçambique, são temas complexos, porque reúnem uma série de aspectos políticos, históricos e culturais do país e de sua população. Para desenvolver esta pesquisa, escolheu-se como objeto de análise a categoria de canto e dança enunciada por estudiosos dos nativos de Moçambique, presente em monografias antropológicas do período colonial. Canto e dança são unidos numa categoria ocidental de pesquisa, não nativa. Assim, a princípio, questiona-se: como os autores retiram certos aspectos da vida social para escrever sobre canto e dança? Quais temáticas são criadas e delimitadas? Como, numa vida social ampla, definem-se certas categorias de canto e dança? Com isso, procura-se destacar quais representações são constituídas pelos autores da antropologia sobre o contexto da vida no império e sobre qual base material os autores constroem o conhecimento sobre seus pesquisados, fundamentando suas próprias relações de alteridade / Abstract: The nation and cultural nationality, specially in the state of Mozambique, are complex themes, because they take together a series of political, historical and cultural aspects of the country and its population. For this research, the analitical object chosen was the category of chant and dance made by researchers of the natives of Mozambique, present in anthropological monographs made at the colonial period. Chant and dance are taken together in an ocidental category of research, non-native. So, first of all, we may question: how the authors extract some social life aspects to write about chant and dance? Which thematics are created and delimited? How, in a wide social life, are set certain categories of chant and dance? Taking this point, we hope to know more about which representations are constituted by these anthropology authors in the context of imperial life, and what constitutes their own alterity relationships / Mestrado / Mestre em Antropologia Social

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Cette étude propose de réviser le postulat selon lequel le roman américain ne naît que dans les années 1820, pour suggérer que cette forme émerge plus tôt, entre 1789 et 1819. La période qui suit la fin de la guerre d’Indépendance n’est pas favorable à la naissance du roman : les élites craignent alors la déchéance de la jeune République, et la fiction risque de faire basculer le pays dans l’anarchie. Les œuvres des premiers auteurs américains sont fortement façonnées par l’impératif de didactisme et d’utilité sociale et morale qui pèse alors sur la création littéraire. Toutefois, le roman qui émerge dans les années 1790 demeure une forme sombre, plurielle et paradoxale qui résiste à toute tentative de recadrage et de maîtrise, comme en témoigne particulièrement l’œuvre de Charles Brockden Brown. Alors qu’une première tradition littéraire a commencé à se mettre en place au tournant du siècle, le roman subit une transformation esthétique majeure au cours des années 1800 et 1810. Il dépeint à présent avec nostalgie, dans une forme lisse, mesurée et linéaire, une Amérique qui n’existe plus ou qui n’a jamais existé, dans laquelle tout est perpétuellement ordonné et transparent. Ces ouvrages ne marquent pourtant pas l’avènement du roman américain, car leur équilibre est artificiel et les éléments sombres sont toujours lisibles au cours de ces deux décennies. Nous concluons qu’un roman spécifiquement américain se développe effectivement entre 1789 et 1819, qui, au moyen de deux esthétiques opposées mais complémentaires, s’interroge sur l’individualité, le temps et l’écriture, dans une quête perpétuelle d’équilibre et de maîtrise qui ne se réalise jamais vraiment. / Although critics still widely consider the American novel only emerges in the 1820s, this dissertation invalidates this assertion and suggests that it rises between 1789 and 1819 and has specific aesthetic characteristics. The period that follows the close of the Revolution is not favorable to the development of the novel: the elites fear the fall of the early Republic, and the novel might precipitate the nation into anarchy. The first American authors’ works are fashioned by the social and moral imperatives that influence writing at that time. Despite these measures, the novels published in the 1790s are dark, fragmented and paradoxical and resist any attempt at order and control, as Charles Brockden Brown’s works show. While the 1790s seem to witness the development of a specifically American tradition, the novel undergoes a major aesthetic change at the beginning of the 19th century. Long fictions now depict, with nostalgia and in a smooth, balanced, strongly linear form, an ordered and transparent American nation that is no more or that never existed. Yet these works do not indicate that the American novel has reached its mature form, as their balance is purely artificial and unruly elements are still at work during those decades. We conclude that a specifically American novel emerges during the thirty years following the Revolution: under two different but complementary aesthetics, this genre questions matters linked to individuality, time and writing, and is haunted by a quest for control and balance that never really comes to completion.

En nous appuyant sur un corpus composé de Silo de Hugh Howey, de la série Divergent de Veronica Roth et finalement de la série The 100 de Morgan Kass, nous analyserons la reconstruction d’une société après l’impact d’un cataclysme ayant de nombreuses conséquences : la chute d’un monde tel que connu jusqu’alors, l’isolation, la perte de structures et la décimation de la majorité de la population. Les œuvres choisies mettent en scène des sociétés déjà reconstruites, où l’apocalypse s’est produite il y a plusieurs générations. Les choix de sociétés mises en place devient alors significatif d’une volonté de mettre de l’avant un certain type de réorganisation postérieure au cataclysme. Nous nous intéresserons donc à cette reconstruction en observant d’abord les éléments qui indiquent ce qu’était la vie sur Terre avant l’apocalypse ; l’apparence et l’état de la Terre avant la catastrophe, mais aussi le type de sociétés établies dans ce monde futuriste. Nous analyserons également le choix des catastrophes en nous questionnant sur les causes et les impacts des cataclysmes choisis (attaque nucléaire, arme biologique, bombardements, etc.). Par la suite, nous nous attarderons à l’instauration et au fonctionnement des sociétés établies dans les différents domaines (politique, économique, judiciaire). Dans notre dernier chapitre, nous nous questionnerons sur les sources de conflits qui viennent troubler le statu quo traduit par l’immobilisme de la société, notamment en ce qui a trait aux événements entourant l’apocalypse (par exemple, les causes du cataclysme sont souvent gardées sous silence par les dirigeants). Finalement, nous interpréterons les thèmes récurrents que partagent les œuvres du corpus.

La première partie de ce mémoire, L’ossature de l’existence, est un récit de voyage dans lequel le narrateur entreprend une recherche identitaire en parcourant les États-Unis et le Canada. Le récit, qui s’approche parfois de l’essai, explore certains thèmes très présents dans la littérature québécoise, tels que l’errance, le déracinement, l’autochtonie, et le rapport du Québec francophone avec l’Amérique. S’y faufilent aussi des réflexions sur les ruptures; sur l’immuabilité du passé, la fragilité et l’éphémérité du présent, et les incertitudes de l’avenir. La seconde partie, « La rupture identitaire chez Richler et MacLennan », propose une analyse de la relation amoureuse entre francophones et anglophones dans The Apprenticeship of Duddy Kravitz et Two Solitudes. Le texte étudie la façon dont sont représentés les rapports de pouvoirs entre les deux groupes culturels dans les romans, mais aussi comment ils sont alimentés par des déterminants identitaires et par une certaine philosophie libérale, qui s’incarne entre autres dans le « rêve américain » et la primauté de l’individu sur le collectif.