[pt] O presente trabalho tem como objetivo analisar as diversas formas que o romance Dois Irmãos (do escritor Milton Hatoum) assume ao transitar por diferentes meios, em especial o televisivo. O estudo trata a adaptação literária para televisão pelo viés da intertextualidade, tomando de empréstimo o conceito de Julia Kristeva, criado a partir do dialogismo de Bakhtin, que inscreve todo e qualquer discurso em uma lógica de impregnação entre diferentes enunciados. No deslizamento de um suporte para outro, a obra de Hatoum se desdobra, se reconfigura, ganhando novos contornos e significações. Desde a época dos folhetins, no século XIX, os romances se ajustavam às migrações entre meios, se moldando às especificidades de cada suporte em que se viam inseridos. Hoje, as narrativas se propagam com intensa velocidade por meio das diferentes ferramentas digitais, que integram a chamada cultura da conexão. Nesse contexto em que as trocas intertextuais se acentuam, o estudo investiga o percurso trilhado por uma obra literária que começa no suporte livro até se alocar, também, no ambiente digital, em formato de e-book com links para cenas da série televisiva. / [en] The aim of the present study is to analyse the different forms the novel Dois Irmãos (by the writer Milton Hatoum) adopts as it progresses through different media, especially television. This research addresses the literary adaptation for television in reference to intertextuality, incorporating Julia Kristeva s concept, based on Bakhtin s dialogism, whose theory considers every discourse as a result of the impregnation between distinct utterances. In its transition from one medium to another, Hatoum s work unfolds and recreates itself, acquiring new forms and meanings. From the time of serialised fiction, in the XIX century, novels have been adapted when migrating to a particular medium, adjusting to the specifications of the means in which they were inserted. Today, narratives spread very rapidly through varied digital tools, integrating the so- called Connection Culture. In the context in which intertextual exchanges are enhanced, the present study investigates the course followed by a literary work which begins as a book and later migrates, to the digital environment, in the ebook format with direct links to scenes from the TV series.

This dissertation explores the influence of Reformation representational anxiety on early seventeenth-century poetic depictions of Christ. I study the poetic shift from physical to metaphorical portrayals of Christ that occurred after the English Reformation infused religious symbols and visual images with transgressive power. Contextualizing the juncture between visual and verbal representation, I examine the poetry alongside historical artifacts including paternosters, a painted glass window, an emblem, sermons, and the account of a state trial in order to trace signs of sensory “loss” in the verse of John Donne, George Herbert, Aemilia Lanyer, and John Milton. The introduction provides a historical and poetic overview of sixteenth-century influences on religious verse. The first chapter contrasts Donne’s sermons—which vividly describe Christ—with his poems, in which Christ’s face is often obscured or avoided. In the chapter on George Herbert's The Temple, I show how Herbert’s initial, physical portraits of Christ increasingly give way to metaphorical images as the book progresses, paralleling the Reformation’s internalization of images. The third chapter shows that Aemilia Lanyer’s Salve Deus Rex Judaeorum makes use of pastoral conventions to fashion Christ as a shepherd-spouse, the divine object of desire. In the final chapter I argue that three poems from John Milton’s 1645 volume can be read as containing signs of Milton’s emerging Arianism. Depictions of Christ in the poetry of Donne, Herbert, Lanyer, and Milton reveal the period’s contestation over images; the sensory strain of these metaphorical representations results in memorable, vivid verse.

In the span of this thesis, I investigate the queer nature of John Milton’s epic poem Paradise Lost, and argue that in spite of the biblical subject matter it is in fact a text filled with instances of queer transgression. I focus on preexisting feminist critiques of Milton in my introduction in order to ground myself within the academic field, and in order to illustrate how I will be branching out from it. In my first chapter, I discuss the queered nature of the poem’s landscapes, such as Chaos and Hell, and the specifically queer and masculine nature of reproduction, such as Sin’s birth out of Satan’s head and Eve’s birth from Adam’s rib. I then turn to an in-depth discussion of Sin in Chapter Two, illustrating how she is punished with reproduction and sexual violence, and how this contrasts with her queer birth while illustrating the poem’s problematic stance toward fallen women. In my final chapter, I tackle the character of Eve, and argue that her narcissistic scene at the lake after her birth reveals her queer sexual desire for her feminine reflection. I also discuss how the poem sexualizes Sin and Eve, and how their physical appearances illustrate the state of women in the poem. I finish by arguing that a queer perspective of Milton is important because it allows modern critics to view as both illuminating and empowering.

“‘King Hereafter’” posits Shakespearean theater as a gateway between Reformation England’s suppressed desire to rid itself of monarchy and that desire’s expression in the 1649 execution of King Charles I. Specifically, I argue that Macbeth darkly manifests a latent Protestant fantasy in which the kings of the earth are toppled in a millenarian coup. Revolution- and Restoration-era writers John Milton and William Davenant attempt to liberate or further repress Macbeth’s apocalyptic republicanism when they invoke the play for their respective causes. Shakespeare’s text resists appropriation, however, pointing up the blind spots in whatever form of sovereignty it is enlisted to support. I first analyze Macbeth (1606) in its original historical context to show how it offers an immanent critique of James I’s prophetic persona. Macbeth’s tragic foreknowledge of his own supersession by Banquo’s heirs mirrors James’s paradoxical effort to ground his kingship on apocalyptic promises of the demise of earthly sovereignty. Shakespeare’s regicidal fantasy would be largely repressed into the English political unconscious during the pre-war years, until John Milton drew out the play’s antimonarchical subtext in The Tenure of Kings and Magistrates (1649). Yet the specter of an undead King Charles, I argue in chapter two, haunts Milton just as Banquo’s ghost vexes Macbeth because Milton’s populist theory of legitimate rule continues to define sovereignty as the right to arbitrary violence. In chapter three, I show how Sir William Davenant’s Restoration revision of Macbeth (c.1664) reclaims the play for the Stuart regime by dramatizing Hobbes’s critique of prophetic enthusiasm. In enlarging upon Macduff’s insurgency against the tyrant Macbeth, however, Davenant merely displaces the rebellious potential of the rogue prophet onto the deciding sovereign citizen. Finally, my fourth chapter argues for Milton’s late-career embrace of Shakespearean equivocation as a tool of liberty in Samson Agonistes (1671). Samson’s death “self-killed” and “immixed” among his foes in a scene of apocalyptic destruction challenges the Hobbesian emphasis on self-preservation and the hierarchical structures on which sovereignty itself depends for coherence. Milton’s mature eschatological vision of the end of sovereignty coincides with his artistic acceptance of the semantic and generic ambiguities of Shakespearean drama. / text

<p>When debating the structure of the cosmos, Raphael delivers to Adam perhaps Milton's most famous line: "be lowly wise." With the promise to "justify the ways of God to men," Milton does not limit man's knowledge to base matters, but reclaims the heights of "other worlds" for the poet. Over the course of the seventeenth century, the natural philosophers' material explanations of the natural order were slowly gaining authority over other sources of knowledge, the poets prime among them. My dissertation takes up the competing early modern claims to knowledge that Milton lays down for Adam. I argue that natural philosophy, what today we call "science," emerged as the dominant authority over knowledge by appropriating the poet's imagination.</p><p>The poet's imagination had long revealed the divine hand that marked nature--a task that, as Sidney put it, merited the poet a "peerlesse" rank among other professions. For Bacon, Galileo, and Royal Society fellows, the poetic imagination revealed material explanations of nature's order that other orthodox models and methods could not. For the first decades of the seventeenth century, the imagination aligned poetry and natural philosophy as complementary pursuits of knowledge: Sidney's poet was to imagine a "golden" world that revealed the divine order, the material cause of which Bacon's natural philosopher was to discover in nature. But as the Royal Society fellows countered the claim that they peddled fancies, they severed ties with the poet. In one ingenious rhetorical move, Royal Society fellows proclaimed themselves to have perfected the poet's imaginative work, securing the imagination for natural philosophy while disavowing poetry as the product of an idle fancy. Such rhetoric proved as powerful then as it does now. For Margaret Cavendish, the poet occupies the supplemental role that "recreate[s] the mind" once it grows tired of the "serious" natural philosophical studies. After the Restoration, then, the important role of the poetic imagination would go largely unrecognized even as it set itself to work in what would become the separate disciplines of literature and science.</p> / Dissertation

This thesis examines Josef Jungmann's translation of John Milton's Paradise Lost. Josef Jungmann was one of the leading figures of the Czech National Revival and translated Milton 's poem between the years 1800 and 1804. The thesis covers Jungmann's theoretical model of translation and presents Jungmann's motives for translation of Milton's epic poem. The paper also describes the aims Jungmann had with his translation and whether he has achieved them. The reception Jungmann's translation received after it was published and its significance for the Czech literature is also discussed. This thesis is based on existing works cited in the bibliography and aspires to extend them. Primarily, this thesis focuses on detailed translation analysis of how Jungmann's translation compares prosodically, lexically and stylistically to the original. The main focus of the lexical analysis are neologisms that John Milton introduced in Paradise Lost and aims to find how Jungmann, who is widely considered as one of the foremost innovators of the Czech language, was able to translate them into Czech. There are two key points - lexical correctness and potential inspiration for his neologisms. Key words: Josef Jungmann, John Milton, Czech National Revival, neologisms

Foreword This paper will be of value in answering continuing questions regarding John Milton's position on war and peace. The questions continue and are valid because Milton's works, as considered in the paper, offer support for both pro-war and pro-peace interpretations. The paper also addresses a middle-ground interpretation-that Milton's position can best be understood in light of the legal theories of Hugo Grotius, the seventeenth-century Dutch scholar who is generally accepted as the father of modern international law. The works considered include, among others, the Nativity Ode, the sonnets, Paradise Lost, Paradise Regained, Samson Agonistes (including post 9/11 controversy involving its alleged endorsement of terrorism), Christian Doctrine, and Milton's infrequently cited History of Britain. No ultimate answers are suggested except that more than three hundred years of Milton scholarship have left little unexplored regarding Milton's views on war and peace. Milton will always be known for his admiration of soldiers, particularly his employer, Oliver Cromwell, and for his military imagery, particularly in Paradise Lost. He will also be known as a man who lived in a time of constant warfare, and yet who valued and sought individual inner peace.

Thesis advisor: Dayton Haskin / Using methods drawn from literary analysis, theology, and political history, <italic>Loving Liberty</italic> explores the relationship between Milton's thinking about liberty and his practice of scriptural interpretation. It argues that Milton advances a model of a free society ultimately modeled on the charitable relations between the Father and the Son, who in his view differ essentially from one another. This model of liberated unity in difference derives from, and responds to, Milton's encounter with the Reformation ideal of each believer reading the Bible for him or herself, along with the social chaos that accompanied the resulting proliferation of interpretations. Using a complex concept of charity, Milton's writings imagine a society in which all are free to use scripture in highly individualized ways that nevertheless conduce to unity rather than chaos. In the end, the very interpretative practice through which Milton thinks his way toward this model also stands as its shining example, culminating in a rich body of writing that creatively re-imagines scripture and that invites its readers to use these new creations or not, as charity demands and in keeping with their own freely exercised gifts. In contrast to what he calls &ldquo;obstinate literality&rdquo; and &ldquo;alphabetical servility&rdquo in <italic>The Doctrine and Discipline of Divorce</italic>, Milton's liberated interpretative method requires the interpreter to generate his or her own Bible, whether by radically reassembling the text (as Milton does in <italic>De Doctrina Christiana</italic>), by prophetically speaking the scripture written on one's heart (as Michael teaches Adam to do in <italic>Paradise Lost</italic>). / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

This study was made to determine the contributions of Calvin Milton Woodward to the field of industrial arts. His work will be analyzed so as to prove that his philosophy of manual training is directly related to the underlying philosophy of the industrial arts system.

Submitted by Alisson Mota (alisson.davidbeckam@gmail.com) on 2015-06-03T18:54:38Z No. of bitstreams: 1 Dissetação - Werner Vilaça Batista Borges.pdf: 1046543 bytes, checksum: 3f0b8be21985d91ec6cf73a14dc1c244 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-08T14:08:29Z (GMT) No. of bitstreams: 1 Dissetação - Werner Vilaça Batista Borges.pdf: 1046543 bytes, checksum: 3f0b8be21985d91ec6cf73a14dc1c244 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-08T14:12:56Z (GMT) No. of bitstreams: 1 Dissetação - Werner Vilaça Batista Borges.pdf: 1046543 bytes, checksum: 3f0b8be21985d91ec6cf73a14dc1c244 (MD5) / Made available in DSpace on 2015-06-08T14:12:56Z (GMT). No. of bitstreams: 1 Dissetação - Werner Vilaça Batista Borges.pdf: 1046543 bytes, checksum: 3f0b8be21985d91ec6cf73a14dc1c244 (MD5) Previous issue date: 2014-01-07 / Não Informada / Esta tesis analiza las tres primeras novelas de Milton Hatoum: Relato de um Certo Oriente, Dois Irmãos y el Cinzas do Norte. El objetivo general es observar la representación de la modernidad en las obras. Se analiza mediante la comparación de las tres narrativas destacando los temas de la modernidad que aparecen en la ciudad, en los hogares, en las actitudes de los personajes y la posición del autor. Hatoum cuenta la historia cultural, moral, costumbres árabes y amazónicas. Dilce el ethos de su generación, apareciendo así el pesimismo en sus novelas. En las novelas encontramos familias que disipan, casas destruidas, narradores en busca de identidad y una ciudad en el clima de la posguerra y la dictadura. Kant trata del hombre moderno como un sujeto que abandona la menoridad , pero que no ha alcanzado la mayoría de edad, por lo que es un ser-entre. Berman dijo que la modernidad es una aventura ambigua e impredecible, estas son las aventuras modernas que aparecen y se analizan en las tres primeras novelas de Hatoum. / Esta dissertação detém-se na análise literária do três primeiros romances de Milton Hatoum: Relato de um Certo Oriente, Dois Irmãos e Cinzas do Norte. O objetivo geral é observar como a modernidade é representada nestas obras. Analisa-se comparativamente as três narrativas destacando os temas da modernidade que aparecem na cidade, nas casas, nas atitudes dos personagens e no posicionamento do autor. Hatoum conta a história cultural, moral, os costumes árabes e amazônicos. Ele relata o ethos de sua geração, e nisto um pessimismo moderno atravessa seus romances. Nestes, encontramos famílias que se dissipam, casas destruídas, narradores em busca de identidade e uma cidade em clima de pós-guerra e sob regime ditatorial. Kant, ao tratar do homem moderno coloca-o numa posição de saída da minoridade, mas sem chegar à maioridade, é um estar-entre. Berman, salienta que a situação moderna do ser humano é como uma aventura ambígua e imprevisível, são essas aventuras modernas que aparecem e são analisadas nos três primeiros romances de Hatoum.