A shift in gaze has occurred in the study of the early modern period, one which has begun to examine the Western world in a more global and comprehensive context. This shift has been extensively written upon with regards to a historical consideration by researchers like Nabil Matar, Jeremy Brotton, Gerald MacLean, and others. This “re-orientation”, as MacLean calls it, has extended itself into the realm of literature studies, though Shakespeare and his works have been the focus of much of the scholarship circulating today. While the Bard has much to tell us, in the spirit of this expansion my thesis will focus on the work of another early modernist: poet, activist, and scholar John Milton. Utilizing both the knowledge provided by historicist scholars for contextualization and the critical apparatus of scholars like Gil Anidjar and Daniel Vitkus as a framework, my thesis will work to examine the possibility of the Islamic holy text, the Qur’an, as an influence for Milton. Focusing on the text of Samson Agonistes as a site for this influence and interaction, it will be my intention to deconstruct specific passages from Milton’s text and verses from the Qur’an in order to expose a thematic and dialectic connection between these two seemingly incongruous corpi. I will accomplish this through a careful deconstruction of elements of monotheistic religious violence and political theology as well as an examination of the inclusion or exclusion of certain events, people, or themes in Milton’s text which deviate from their Judeo-Christian origins. Finally, I will discuss the early modern Christians’ historical fear of Islamic conversion and conquer alongside an examination of Samson’s destruction of the Philistine temple in the context of political theology, in an attempt at elucidating the link between this historical fear of “turning Turk” and the supposed justification for violence against an ideological other that drives Samson towards his violent and self-conclusive act. Through this research I intend to broaden the scope of Miltonic and early modern literature studies in the hopes of creating a more global and considerate understanding of Milton’s texts.

Despite recent scholarship, critics have yet to offer a sustained, interdisciplinary interpretation of John Milton's engagement with millennial ideas that takes into equal account the historical context of seventeenth-century religious and political controversy, the ways in which the pending apocalypse transformed how people imagined and experienced time, and how we see evidence of this cultural shift in Milton's poetry. This dissertation opens new possibilities of understanding Milton's relation to apocalyptic belief in the Revolutionary and Restoration era through an investigation of how millennial thinking cut across a variety of discourses including theology, politics, and science. At its most basic level, my dissertation argues the seventeenth-century anticipation of the apocalypse fundamentally altered the way people imagined time; this new way of conceptualizing temporality changed early modern religious beliefs, conceptions of history, the scientific imagination, and practices of reading philosophy, politics, and literature. My project proposes that the poetry of Milton helps us better understand these extensive cultural transformations. I explore this new understanding of time that is both reflective of discursive changes in the seventeenth century as well as characteristic of Milton's aesthetics, by offering an understanding of Milton's relationship with millennial ideas and their constitutive temporal structure. I argue that, in response to the inevitable and immanent "end of time" suggested by seventeenth-century apocalyptic temporality, Milton's poetry creates an alternative temporality, opening up an experience of time that is not necessarily unidirectional, closed, and speeding towards its end. I suggest that this different experience of time can best be understood through the framework of a temporality explored by contemporary philosophers Walter Benjamin, Jacques Derrida, and Giorgio Agamben--messianic time. Put in its most basic terms, messianic time is a way of thinking about temporality differently, of calling into question our narratives of how time and history function. The messianic invites us to interrogate the notions of closure, certainty, and inevitability that are implicit in our linear, apocalyptic notion of time. Milton's texts continually constitute the possibility of a messianic temporality that can be read as a response to changing conceptions of time in the seventeenth century, millennial anticipation, and the belief that the apocalypse was close at hand. Entering a recent critical conversation regarding Milton's engagement with millennial and apocalyptic thinking, I suggest that we can understand this involvement through the alternative temporality his poetry creates. Each chapter of this dissertation fuses a formalist close reading of the temporality and uncertainties opened up by generic revisions, literary allusions, and rhetorical devices in Milton's poetry with a reading of how ideologically-conflicting interpretations of millennial time are articulated in the text and are reflective of contemporary discourse. I demonstrate how messianic time functions in each text and I prove the importance of this experience as it relates to historical and ideological questions about the millennium. This dissertation contributes to an ongoing conversation regarding how political, religious, scientific, and aesthetic texts are interconnected, and explores the plurality of Milton's ideological positions as they emerge out of the ambivalence and tension in the language of his poetry. In my reading, Milton's texts articulate a way of being in the world--both structural (created through language) and historical (tied to seventeenth-century millennial thinking)--that suggests uncertainty is the condition of knowledge and truth. / English

The seventeenth-century epic poem Paradise Lost is one of the most widely studied texts in all of literary history. The work, written by John Milton, depicts Satan's fall from Heaven and subsequent deeds on Earth and in Hell. One of the more remarkable and, often, most overlooked scenes in the story involves the distinctive personification of Sin and Death. Milton depicts Sin as the daughter of Satan, with no mention of a mother, born through a process of spontaneous generation. Satan then becomes so captivated by his daughter's wickedness that he forces himself upon her, causing Sin to bear a son, Death. This illustration is striking, especially given that it also appears in the opening pages of the fourteenth-century Mirour de l'Omme (c. 1376) by John Gower. In both Milton and Gower's poems, Satan, Sin, and Death are personified as having this familial, incestuous relationship which ultimately creates the world's evils. Their depictions are not merely reminiscent of one another, but rather, often match up in nearly identical fashions. John S. P. Tatlock was the among the first to notice these similarities, but was also quick to express his hesitance to say with any sort of assurance that Milton had read Gower: "Since only one manuscript of the Mirour is known, and that was never published until seven years ago [1899], the chance is infinitesimal that Milton ever heard of the poem. But that his and Gower's sources are ultimately the same seems to me highly probable." Yet to date, no studies have been conducted to determine which shared sources could possibly lead Milton and Gower to construct such similar personifications of Sin and Death. Indeed, John Fisher notes that currently "the influence of the Mirour upon Paradise Lost remains an open question." It is upon this open question that I now attempt to help fill this century-old void in literary research / Master of Arts

The object of this study will be to call attention to the gradually developing interest in the poem and the varying interpretations of it.

[pt] Para descrever a experiência de se estar entre culturas, entre línguas e entre países, dois autores da literatura brasileira, por caminhos diversos, discutem soluções que se encontram no centro do interesse deste trabalho. A partir de duas obras que trabalham a representação do imigrante, Contos do Imigrante (1956), de Samuel Rawet, e Relato de um certo Oriente (1989), de Milton Hatoum, os escritores problematizam distintos modos de se narrar a experiência da alteridade. Neste sentido, é central a questão da linguagem como terreno onde equacionar impasses de identidades marcadas pelo transplante cultural e pelo questionamento da tradição. / [en] This study discuss how immigrants are represented in Brazilian literature nowadays and the different ways writers can tell the experience of being between two cultures, languages and countries. Analyses Samuel Rawet`s Contos do Imigrante (1956) and Milton Hatoum`s Relato de um certo Oriente (1989), novels which describe otherness in very distinct manners. It also considers the crucial role of language in solving identities` dilemmas that involve cultural transplantation and doubts about former tradition.

Esta dissertação prevê, num primeiro momento, o estudo da trajetória de dois escritores brasileiros, Milton Hatoum e Chico Buarque. Num segundo momento, investigam-se os pontos de contato entre as posições e as tomadas de posição no campo literário. Parte-se do pressuposto de que a compreensão da formação e dos investimentos desses autores pode ajudar a compreender tanto as suas obras quanto a recepção crítica positiva que ambos obtiveram e continuam obtendo. A hipótese é a de que modos particulares de aquisição de capital cultural, além de uma nova configuração do campo literário brasileiro, contribuíram para que ambos os autores produzissem obras de qualidade e galgassem posições nesse campo. / Our goal in this project in the study of the trajectories of two Brazilian authors, Milton Hatoum and Chico Buarque. We believe that the comprehension both of their formation and investments may help us to comprehend not only theirwork but also the positive reception they had and stillhave from Brazilian critics. Our hypothesis is that specific ways of cultural capital acquisition, and also a new configuration of the Brazilian literary field, contributed both for the authors qualified production and, consequently, the attainment of high positions in the field.

Esta dissertação detém-se na análise e na comparação do romance Dois Irmãos (2006), de Milton Hatoum, com a narrativa bíblica dos embates fraternos presentes no livro do Gênesis, especialmente o episódio dos gêmeos Esaú e Jacó. O relacionamento conflitante entre irmãos é um constante leitmotiv, um foco de interesse que se desenvolve de diversas formas ao longo de todo primeiro livro da Bíblia Hebraica. Hatoum vai à narrativa bíblica, considerada matriz do pensamento ocidental e da memória cultural da Humanidade pelo impulso do seu tema, logo, ele não parte da Bíblia. Como, então, o autor brasileiro trabalha o seu romance em que o fulcro é justamente o embate entre irmãos em torno da primogenitura (o que nos remeteria ao texto matricial bíblico Gênesis) para alinhavar sua ficção? A nossa viagem em busca dessa resposta é iluminada por um caminho tateante e trôpego. Como numa dança folclórica, narrador e protagonistas giram, trocam de lugar e se revezam nos papéis de Esaú, Jacó, Caim, Abel e José. Nossa pesquisa vai aproximar as narrativas ora por semelhanças ora por estranhamentos com base no romance de Hatoum. Buscaremos os vestígios da narrativa bíblica presentes na obra do autor brasileiro seguindo os rastros de Omar, Yaqub e, especialmente, Nael, um narrador intervalar, meio índio, meio árabe, filho bastardo de um dos gêmeos do romance com a cunhantã, empregada da família de origem libanesa. Diante de Nael, flertaremos o tempo todo com os olhos da memória. Nael nos conduzirá a uma surpreendente descoberta: é ele quem acende o foco nacional na nossa pesquisa e, como descendente do povo indígena do Amazonas, revela-se o mais legítimo herdeiro de toda ancestralidade mitológica, originária das lendas e mitos que envolvem gêmeos inimigos em narrativas tão ou mais milenares que a Bíblia. De certa forma, então, Nael rouba para si a luz, a princípio lançada sobre os gêmeos Omar e Yaqub, e se apropria da primogenitura quando estão em jogo o poder e o nome seja do patriarca da família libanesa, seja do mito original. / The following dissertation focuses on the analysis and comparison of Milton Hatoums novel Dois Irmãos (The Brothers, 2006) and the biblical narrative of the fraternal clashes in the book of Genesis, especially that of the twins Jacob and Esau. The conflict-ridden relationship between brothers is a constant leitmotiv, a point of interest that develops in different ways throughout the first book of the Hebrew Bible. Hatoum seeks the biblical narrative matrix for Western thought and Humanitys cultural memory through the impulse of his theme, therefore he does not set out from the Bible. How then, does the Brazilian author progress through his novel, whose fulcrum is the clash between brothers in respect to their primogeniture, which brings us back to the generative biblical text of Genesis to baste his fiction? Our journey in search of this answer is brightened by a fumbling and stumbling path. As in a folkloric dance, narrator and protagonists spiral, trade places and take turns in the roles of Esau, Jacob, Cain, Abel, and Joseph. Our research will approximate these narratives either through similarities or through the estrangement from the Hatounian novel. We will seek the vestiges from the biblical narrative present in the Brazilian authors work following the trails of Omar, Yaqub, and especially the narrator, Nael. An interspersed narrator, half Indian, half Arab; bastard son, progeny of one of the novels twins and a young Indian girl, the Lebanese family\'s maid. Led by Nael\'s narrative, we will constantly flirt with the eyes of memory. Nael leads us to a surprising discovery: it is he who brings into focus the national scope in our research and, as a descendant to the indigenous Amazonian peoples, he reveals himself as the most legitimate heir to all mythological ancestrality born from folktales and myths of rival twins narratives that are as ancient if not more than the Bible. So, to a certain extent, Nael steals the light originally shined upon the twins Omar and Yaqub for himself and embraces the primogeniture, while the power and name are at stake, be it from the familys patriarch, or the original myth.

No description available.

Este estudo apresenta o trabalho do psicanalista e hipnoterapeuta americano Milton Hyland Erickson a partir de seus dados biográficos e de sua relevância para a chamada terapia estratégica, propondo, em consonância com sua experiência profissional, uma nova epistemologia para a mudança; propõe ainda uma comparação entre a trajetória de Freud e a de Erickson em relação à hipnose, bem como um apanhado histórico sobre essa técnica. Com base nessa recuperação teórica, os padrões ericksonianos de linguagem são investigados à luz do Metamodelo e do Modelo Milton, criações de Richard Bandler e John Grinder, tomando por base alguns conceitos da Programação Neurolinguística (PNL) tais como sistemas representacionais, filtros, modelagem, espelhamento e rapport. Empreende-se uma análise do discurso ericksoniano a partir de três casos selecionados dentre seus atendimentos clínicos, evidenciando os padrões de linguagem apresentados nas categorias e subcategorias do Metamodelo e do Modelo Milton, com o objetivo de validá-los tanto teórica quanto empiricamente / This study aimed at scrutinizing Milton Hyland Ericksons theoretical framework and therapeutic methodology with a view to the understanding of their relevance to the so-called strategic therapy. That aim was carried out through analyses of issues such as Ericksons professional experience, his shared points and differences with Freudian hypnosis and particularly his patterns of discourse as well as his very clinical technique. Those analyses were accomplished under the guidance of the Metamodel and the Milton Model as proposed by Richard Bandler and John Grinder within the references and concepts comprised in the Neuro-Linguistic Programming such as representational systems, filters, modeling, mirroring and rapport. In order to ground and illustrate the theoretical analyses, this work was enriched by the scrutiny of three Ericksonian clinical cases. This strategy proved to be effective since it has provided evidences about both Ericksons language patterns and empirical data for the observation of the categories and subcategories of the Metamodel and Miltons Model, as a kind of a quest for validation of his theory and methods. The results put into light Ericksons understanding of the therapeutic work

Esta dissertação prevê, num primeiro momento, o estudo da trajetória de dois escritores brasileiros, Milton Hatoum e Chico Buarque. Num segundo momento, investigam-se os pontos de contato entre as posições e as tomadas de posição no campo literário. Parte-se do pressuposto de que a compreensão da formação e dos investimentos desses autores pode ajudar a compreender tanto as suas obras quanto a recepção crítica positiva que ambos obtiveram e continuam obtendo. A hipótese é a de que modos particulares de aquisição de capital cultural, além de uma nova configuração do campo literário brasileiro, contribuíram para que ambos os autores produzissem obras de qualidade e galgassem posições nesse campo. / Our goal in this project in the study of the trajectories of two Brazilian authors, Milton Hatoum and Chico Buarque. We believe that the comprehension both of their formation and investments may help us to comprehend not only theirwork but also the positive reception they had and stillhave from Brazilian critics. Our hypothesis is that specific ways of cultural capital acquisition, and also a new configuration of the Brazilian literary field, contributed both for the authors qualified production and, consequently, the attainment of high positions in the field.