This study enquires into the construction of a cultural fantasy, the favorite (or royal mistress), in the reign of Louis XIV (1661-1715), and aims to explore the kinds of narrative, the 'scénario pour l’imaginaire', articulated around this figure. A process of crystallization in respect of the favorite, both as word and as literary figure, develops across the late seventeenth century. This process is on the one hand fuelled by the increasing prominence of female favouritism as a political practice during the period, and on the other facilitated by the emergence of new privileged media such as the novel and the 'nouvelle historique'. The favorite, as a new incarnation of the ‘femme forte’, becomes a trope by which anxieties can be expressed: about female power, but also about the monarchy in general. This thesis advances by way of close readings and studies of vast corpora of texts; it alternates – both within and between chapters – between analysis and synthesis. Following the introduction, the first chapter introduces a set of mental landmarks, both semantic and axiological, and explores the dictionaries, treatises and courtly manuals of the time in search of the favorite. The second chapter focuses on the fiction of the 1660s and 1670s, and questions the way in which these texts established elements of definition and recurrent issues related to the staging of the favorite in this period. The third chapter considers the representation of Louis XIV's mistresses, principally through a study of the ballets, poems, letters, memoirs, satires and pamphlets concerned with the Sun King's loves. Its object is to show how the favorite is inserted into the royal mythology. The fourth chapter is dedicated to the first text explicitly and exclusively devoted to the favorite: the Histoire des Favorites (1697) by Anne de La Roche-Guilhen. This chapter attempts to bring to light the tensions underlying the text, while interrogating the determining role of this collection in the process of crystallization explored throughout the thesis. The fifth chapter sketches out the afterlife of the favorite under Louis XV and Louis XVI, and describes the principal evolutions which ensured her survival in the collective imagination.

This project examines the modern perception of ancient women, specifically through the creative (and often anachronistic) lens of film. All three women examined, Cleopatra VII, Livia Augusta, and Servilia Caepionis, all exemplify the modern influence on interpreting historical sources, resulting in all three becoming agents of feminism in their own times. Each woman did not culminate the probable influence they had in Roman society, but they are instead reflective of the patriarchal paradigms understood by 20th and 21st century audiences. The burgeoning feminist ideologies of the 20th century would influence the depictions of each character in an anachronistic fashion, distorting the actual control such figures had in history. While Elizabeth Taylor’s Cleopatra capitalized on youth and sexuality as tools of powers, Siân Phillips’ Livia emphasized age and experience to advance in patriarchal Rome. Servilia, however, was an older matron who had both the experience and the sexuality to control those around her. Whileeach figure approached it in very distinct methods, their common goal of changing Roman politics was reflective of the continued (and relatively unchanged) perception of ancient Roman women: as intelligent, yet dangerous, figures that served to derail patriarchal Roman politics. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Thesis (M.A.)--University of Montana, 2008. / Title from title screen. Description based on contents viewed Aug. 25, 2008. Includes bibliographical references (p. 46-49).

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / ABSTRACT This paper reports registrations from about 50 writers, who can be drama-players, from the first generation in the 1940âs to the last one (up to 2001), or drama-players from GuriÃ, in the west coast of Cearà and even its players who followed their famous presentations. Such intense collection of beginning drama-playersâ and drama mistressesâ life stories shows their productions were immortalized by outstanding inventiveness in each production and also for incursions very appreciated by the neighbouring communities, which appreciated strongly the presence of these juvenile aesthetic productions. The intense methodological transformations are narrated because this research and its researcher were in touch with these intensities mentioned by the writers. We point out these interviewees were quite influenced by the circus, theater, movie, radio, magazines, books, television and other shows which they had access to. Analyzing the 60 years of several drama-players generationsâ stories, we noticed these ones kept themselves under masculine dominance and how much they were always submissive to their own desires at representing and setting up their transitory stages, because their expressions were nomadic. It registers a possible lesson and directed to the bureaucratic speech of decision-making organs of Brazilian Basic Education and it can come off from the drama-playersâ speeches, to anyone who wants to hear and produce inquiries about the official and obligatory educational sameness. / RESUMO Este trabalho relata os registros de cerca de 50 memorialistas, seja de dramistas, desde a 1 geraÃÃo na dÃcada de 1940 Ãs representantes da Ãltima geraÃÃo (atà 2001), de dramistas de GuriÃ, no litoral oeste do Cearà ou ainda de seus tocadores que acompanhavam suas famosas apresentaÃÃes. Tal conjunto intenso de histÃrias de vidas das aprendizes-dramistas e das mestras de drama, mostra que suas produÃÃes foram imortalizadas por marcante inventividade a cada produÃÃo e tambÃm por incursÃes muito apreciadas pelas comunidades vizinhas que apreciavam demasiadamente a presenÃa destas produÃÃes estÃticas juvenis. SÃo narradas as intensas transformaÃÃes metodolÃgicas por que a pesquisa e a pesquisadora passaram no contato com estas intensidades vivas ditas pelas memorialistas. E ressalta-se que estas entrevistadas foram bastante influenciadas pelo circo, teatro, cinema, rÃdio, revistas, livros, televisÃo e outros espetÃculos a que tiveram acesso. Percorrendo os 60 anos de histÃrias de vÃrias geraÃÃes de dramistas, percebeu-se que estas se mantiveram à margem da dominaÃÃo masculina e do quanto sempre foram submissas mesmo aos seus desejos de representar e de montar juntas os seus transitÃrios palcos, pois suas expressÃes eram nÃmades.Registra-se uma liÃÃo possÃvel e encaminhada ao discurso burocrÃtico dos ÃrgÃos de decisÃo da EducaÃÃo BÃsica Brasileira e que pode se desprender das falas das dramistas, a quem queira ouvir e produzir indagaÃÃes sobre a mesmice educacional oficial e obrigatÃria.

FREITAS, Maria da Glória Feitosa. Vidas juntas fabricando palcos: um jeito nômade de aprender de dramistas. 2006. 238f. Tese (Doutorado em Educação) - Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2006. / Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-30T16:34:38Z No. of bitstreams: 1 2006_Tese_MGFFreitas.pdf: 2949206 bytes, checksum: b01c2fa22c6ddf32c60dfba7ba3a57ad (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-08-01T15:01:01Z (GMT) No. of bitstreams: 1 2006_Tese_MGFFreitas.pdf: 2949206 bytes, checksum: b01c2fa22c6ddf32c60dfba7ba3a57ad (MD5) / Made available in DSpace on 2012-08-01T15:01:01Z (GMT). No. of bitstreams: 1 2006_Tese_MGFFreitas.pdf: 2949206 bytes, checksum: b01c2fa22c6ddf32c60dfba7ba3a57ad (MD5) Previous issue date: 2006 / This paper reports registrations from about 50 writers, who can be drama-players, from the first generation in the 1940’s to the last one (up to 2001), or drama-players from Guriú, in the west coast of Ceará and even its players who followed their famous presentations. Such intense collection of beginning drama-players’ and drama mistresses’ life stories shows their productions were immortalized by outstanding inventiveness in each production and also for incursions very appreciated by the neighbouring communities, which appreciated strongly the presence of these juvenile aesthetic productions. The intense methodological transformations are narrated because this research and its researcher were in touch with these intensities mentioned by the writers. We point out these interviewees were quite influenced by the circus, theater, movie, radio, magazines, books, television and other shows which they had access to. Analyzing the 60 years of several drama-players generations’ stories, we noticed these ones kept themselves under masculine dominance and how much they were always submissive to their own desires at representing and setting up their transitory stages, because their expressions were nomadic. It registers a possible lesson and directed to the bureaucratic speech of decision-making organs of Brazilian Basic Education and it can come off from the drama-players’ speeches, to anyone who wants to hear and produce inquiries about the official and obligatory educational sameness. / Este trabalho relata os registros de cerca de 50 memorialistas, seja de dramistas, desde a 1ª geração na década de 1940 às representantes da última geração (até 2001), de dramistas de Guriú, no litoral oeste do Ceará ou ainda de seus tocadores que acompanhavam suas famosas apresentações. Tal conjunto intenso de histórias de vidas das aprendizes-dramistas e das mestras de drama, mostra que suas produções foram imortalizadas por marcante inventividade a cada produção e também por incursões muito apreciadas pelas comunidades vizinhas que apreciavam demasiadamente a presença destas produções estéticas juvenis. São narradas as intensas transformações metodológicas por que a pesquisa e a pesquisadora passaram no contato com estas intensidades vivas ditas pelas memorialistas. E ressalta-se que estas entrevistadas foram bastante influenciadas pelo circo, teatro, cinema, rádio, revistas, livros, televisão e outros espetáculos a que tiveram acesso. Percorrendo os 60 anos de histórias de várias gerações de dramistas, percebeu-se que estas se mantiveram à margem da dominação masculina e do quanto sempre foram submissas mesmo aos seus desejos de representar e de montar juntas os seus transitórios palcos, pois suas expressões eram nômades.Registra-se uma lição possível e encaminhada ao discurso burocrático dos órgãos de decisão da Educação Básica Brasileira e que pode se desprender das falas das dramistas, a quem queira ouvir e produzir indagações sobre a mesmice educacional oficial e obrigatória.