Until recent years, the historical moment of Charles II's return to England was universally accepted as a clear marker of the end of "the Cavalier winter," a welcome victory over theater-hating Puritans. To verify this historical view, literary historians have often glorified the role of King Charles II in the history of the "revival" of drama during the Restoration, whereas they tend to consider the Long Parliament's 1642 closing of the theaters as a decisive manifestation of Puritans' antitheatricalism. This historical perspective based upon what is often known as "the rupture model" has obscured the vibrant development of dramatic forms during the English civil wars and the ways in which the revolutionary energy exploded during this period continued to influence in the Restoration the deployment of dramatic forms and imagination across various social groups. By focusing on the generic development of drama and theatricality during the English civil wars, my dissertation challenges the conventional historiography of the English civil war literature, which has been overemphasizing the discontinuity between the English civil war and the periods before and after it. The first chapter shows how the theatrical energy displaced from traditional cultural domains energized an emerging cheap print market and contributed to the invention of new dramatic forms such as playlets and newsbooks. The second chapter questions the conventional association of Puritanism and antitheatricalism by rehistoricizing antitheatrical writers and their pamphlets and by highlighting the dramatic impulses at work in Puritan iconoclasm during the English civil wars. The final chapter offers the Restoration Milton as a case study to illustrate how the proposed historical perspective replacing "the rupture model" better explains not only the politics of Milton's Paradise Lost but also of Restoration drama.

This thesis is a comparative study between Michelangelo Buonarroti's ceiling frescoes in the Sistine Chapel and John Milton's Paradise Lost. The parallels discussed arise out of the Renaissance humanism shared by both of these artists and expressed their works of art. Beginning with Michelangelo, I will establish the relation of Renaissance humanism to the Sistine Chapel ceiling decoration and define Michelangelo's specific conception of the theories associated with this movement. Subsequently, the same critical approach will be applied to Milton's Paradise Lost, which will be revealed to be notably humanistic despite its positioning at the end of the Renaissance in a Protestant country. After exploring the individual works of Michelangelo and Milton separately, I will then consider the views shared by these two in their treatments of the myth of the Fall of humanity: both artists believe in the ultimate dignity and freedom of humankind, and portray both Adam and Eve as free and autonomous individuals; the Sistine ceiling frescoes and Paradise Lost likewise emphasize the regenerative rather than the damning aspect of the Fall of humanity, expressing the humanistic insistence on the value of human experience; finally, the humanistic notion that art, both literary and visual, instructs its audience while entertaining it, provides the governing artistic theory behind the works of both Michelangelo and Milton. Although the commonalities between Michelangelo's Sistine ceiling and Milton's Paradise Lost are extensive, I will not attempt to claim that Milton was specifically influenced by Michelangelo's frescoes. However, my study will reveal the potential for interart analogies to provide greater insight into the individual works of art and literature being analysed.

From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text. My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature. I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.

The thesis aims to investigate the relationship Comenius to Scripture and how to work with him when he wrote his work The Labyrinth of the World and the Paradise of the Heart.

This thesis explores representations of wild nature in two Arthurian texts – one British and one American – produced in an age characterised by rapid social transformation: Alfred, Lord Tennyson’s Idylls of the King (1859-1885) and Howard Pyle’s Story of King Arthur and His Knights (1903). By investigation of the textual descriptions of wilderness and the portrayals of characters living there, the study aims to investigate what attitudes towards unkempt nature are displayed in the two texts. While both narratives give evidence of a powerful nostalgia for a vanishing paradise, the yearning for Eden is expressed quite differently. Pyle’s text fuses the concepts of wilderness and paradise together by depicting the unkempt landscape as a place of splendour and spiritual enjoyment. Such a celebration of nature might well be seen a reaction against the rapid loss of wild spaces across America (and Britain) during the life-time of the author. In the Idylls, paradise is represented in the domesticated yet green landscape of the faraway fairy island of Avilion. Wilderness, on the other hand, is depicted as a harmful disease progressively spreading across the realm, arguably bringing about a moral degeneration among the human characters. In the end, however, it is not wilderness, but the corruption of the supposedly civilised characters that causes the collapse of Arthur’s empire. On closer inspection, the real danger thus seems to come from culture and material conditions rather than from nature.

Submitted by Daniel de Assis Furtado null (assis27@hotmail.com) on 2017-08-18T12:16:21Z No. of bitstreams: 1 DISSERTAÇÃO B.pdf: 1245681 bytes, checksum: 3a5237603a11d345916941adbc430943 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-23T18:42:02Z (GMT) No. of bitstreams: 1 furtado_da_me_arafcl.pdf: 1245681 bytes, checksum: 3a5237603a11d345916941adbc430943 (MD5) / Made available in DSpace on 2017-08-23T18:42:02Z (GMT). No. of bitstreams: 1 furtado_da_me_arafcl.pdf: 1245681 bytes, checksum: 3a5237603a11d345916941adbc430943 (MD5) Previous issue date: 2017-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação tem por objetivo reconhecer os elementos que indicam a construção da imagem de “Paraíso terrestre”, concomitante ao sentimento de nativismo na poesia lírica de Manuel Botelho de Oliveira (1636-1711), especificamente em sua silva “À Ilha de Maré”. Será traçado o panorama histórico-literário em que a obra foi composta, tanto o europeu quanto o brasileiro, assim como revelados alguns dados biográficos do autor, destacando a importância do mesmo para a literatura brasileira então nascente. Em relação ao conteúdo da referida silva, será debatido o topos literário das “ilhas encantadas”, apresentando um cotejo com a maneira como este foi abordado por Camões e pelos frades Manuel de Santa Maria Itaparica e José de Santa Rita Durão, assim como apontamentos sobre a influência que todos esses poetas — Botelho de Oliveira inclusive — receberam de Virgílio e de Ovídio. Esperamos com este trabalho não apenas divulgar a obra dum poeta geralmente ofuscado por seus contemporâneos (Gregório de Matos Guerra e Pe. Antônio Vieira), mas também propor um olhar mais atento a um período histórico-literário cuja importância na formação da identidade brasileira é, por vezes, deixada de lado. / This dissertation aims at recognizing the elements that indicate the construction of the image of "Terrestrial Paradise", concomitant with the feeling of nativism in the lyrical poetry of Manuel Botelho de Oliveira (1636-1711), specifically in his silva "À Ilha de Maré". The historical-literary panorama in which the work was composed, both European and Brazilian, will be traced, as well as some biographical data of the author will be revealed, highlighting his importance to the origins of Brazilian literature. In relation to the content of the silva, the literary topos of the "enchanted islands" will be debated, presenting a comparison with the way it was approached by Camões and the friars Manuel de Santa Maria Itaparica and José de Santa Rita Durão, as well as notes on the influence that all these poets - Botelho de Oliveira inclusive - received from Virgil and Ovid. We hope not only to divulge the work of a poet who is often overshadowed by his contemporaries (Gregório de Matos Guerra and Fr. Antônio Vieira), but also to offer a closer look at a historical-literary period which importance in the formation of Brazilian identity is sometimes set aside. / La presente tesis tiene como objetivo reconocer los elementos que indican la construcción de la imagen del “Paraíso terrenal”, concomitante del sentido de nativismo en la lírica de Manuel Botelho de Oliveira (1636-1711), específicamente en su silva “À Ilha de Maré”. Se trazará la escena histórica-literaria en que se hizo el trabajo, ambas europea como brasileña, así como revelado algunos datos personales del autor, resaltando la importancia de ello para la incipiente literatura brasileña. En relación con la silva, se discutirá lo topos literario de las “islas encantadas”, comparando con la forma en que este fue abordado por Camões y los frailes Manuel Santa Maria Itaparica y José de Santa Rita Durão, así como notas sobre la influencia que todos estos poetas — incluido Botelho de Oliveira —recibieron de Virgilio y de Ovidio. Confiamos que este trabajo no sólo publicite la obra de un poeta generalmente eclipsado por sus contemporáneos (Gregorio de Matos Guerra, y el P. Antônio Vieira), sino también proponga una mirada más cercana a un período histórico-literario cuya importancia en la constitución de la identidad brasileña a veces es dejada de lado.

Jan Amos Komenský is a great figure of the Czech nation. However, despite his fame, he is a much more significant thinker than he is generally regarded to be. Labyrinth of the World and Paradise of the Heart has no equivalent in its time or in older Czech literature. Even if Komenský wrote nothing else, this book would guarantee him a prominent place in Czech literature. In Labyrinth, Komenský shows himself as a great believer who exactly uncovers human pride, uncovers imaginary and untrue independence of man and shows exactly and aptly the futility and true face of many human endeavours. Labyrinth is a merciless criticism of man. It is never nihilistic, though {--} it is always based on a deep and realistic sense of purpose, a deep feeling for the ethical. That is why Komenský{\crq}s irony {--} which is the essential accord of Labyrinth {--} is irony of sadness. Some of Komenský{\crq}s ideas are close and understandable to us; however, some are much more distant. It remains a question if what seems to us to be old, outdated or naive in Komenský, is a basis without which it is not possible to understand well and realize what we are no longer willing to identify with. Is the ``critic of rationalism{\crqq} and great believer in Komenský, so distant to us, his most important basis that gives viability and future to his own ideas as well as to all human endeavours? This work briefly describes the ideas and storyline of Komenský{\crq}s Labyrinth. Each chapter of this thesis attempts to find what is most important in the mass of text of Labyrinth and thus to briefly point out the significance of each part of the book. Sometimes exact quotations are used which should show the real sense of Komenský{\crq}s ideas in a better way. Quotations from the Bible which could be a base of Komenský{\crq}s ideas are matched to individual chapters. The attempt is to find those ideas of Komenský which could be used and could be useful in our society. On the basis of an elaboration on the book, this work attempts to point out the importance of real belief and keeping to its rules for the life of a man and a society as a whole.

La recherche de l’eau a été une nécessité, depuis l’Antiquité jusqu’à nos jours. Au Proche-Orient, la répartition des ressources en l’eau est très inégale et les précipitations sont presque partout insuffisantes. L’homme a développé des systèmes de captage, d’accumulation, d’adduction, d’élévation et de distribution de l’eau de plus en plus variés et élaborés. Les Assyriens, les Grecs, les Nabatéens et les Romains ont transmis ces acquis à l’Orient médiéval que les savants musulmans développeront comme une science et appliqueront dans divers régions. Le jardin, comme l’irrigation des champs et l’approvisionnement des villes et villages, exige des ressources en eau permanente. Notre étude, qui cherchait à vérifier si l’acquisition et la distribution de celle-ci exigeaient une organisation différente et des techniques particulières, apporte une réponse négative. Ce sont aussi ces mêmes systèmes qui alimentent les cités en eau courante ; les techniques ont peu changé, tout comme leur utilisation. En revanche, nous nous sommes rendu compte que le jardin – dont la fonction a changé – passant de l’enclos sacré des temples de l’Antiquité à un espace d’agrément et de prestige, a suscité la créativité des hydrauliciens, médiévaux surtout, et modernes, au service de l’élite. Comme souligné dans cette recherche, certaines techniques ont été mises en œuvre dans diverses régions, parfois dans les plus répulsives, peut-être par défi. À des fins esthétiques et ludiques, les savants ont inventé des bassins élaborés, jeux d’eau et fontaines, ce que nous apprennent les sources textuelles ; malheureusement, les témoins archéologiques sont très pauvres à cet égard. En effet, l’exemple de la noria semble être mieux documenté que d’autres systèmes. Nous pouvons cependant montrer que le jardin de l’élite, l’évolution de son concept et de ses formes, a été un puissant stimulant pour le développement des techniques hydrauliques. / The research of water has always been a necessity, since Antiquity to the present days. In the Middle-East, the distribution of resources is quite unequal and the precipitations are almost insufficient everywhere. Mankind developed more and more various and elaborated systems for water channeling, accumulating, adduction, elevation and supply. Assyrians, Greeks, Nabateans and Romans transmitted their knowledge to the Medieval Middle-East, then developed by Muslim intellectuals as a science and applied in numerous regions. The garden, like fields, cities or villages supply, requires permanent water resources. I intended to verify if water origin and distribution necessitated a different organization and specific techniques, my study show they did not. There are different systems for supplying water for cities; techniques softly changed, as their use. However, I realized the garden, whose function changed and which firstly was a temple sacred enclosure during the Antiquity, became an ornamental and prestigious area, then aroused medieval and modern hydraulic engineers’ creativity at the service of the elite. We underlined, in this research, several techniques used in various regions, occasionally the most arid ones, perhaps as a challenge. For aesthetic and playful aims, according to the texts, the scientists invented elaborated ponds, water games and fountains; unfortunately, archaeological vestiges are very rare. Indeed, the example of the noria seems to be better documented than any other systems. Nonetheless, I show the elite gardens, its concept and layout evolution, was a stimulating element for hydraulic techniques development.

Diploma thesis "Woman in Comics: Comparison of Woman Visual Depictions and Her Function and Role in Comics" is internally divided into two parts: a theoretical and a research part. The theoretical part introduces a history of comics, from the beginning of this medium till present and focuses on woman comics characters and their typologies. The analytical part of the diploma work presents own research which deals with visual depiction of women in comics: examines their functions and roles in comics and bindings to the depictions. A part of the research section of this work is also comics codes analysis (genre, modality, visual codes, nonverbal and language codes), summary of quantitative researches of female characters in comics and basic information about analysed comics (author of the comics, category etc.). The researched sample is composed of three comics: Li'l Abner (author: Al Capp), Wonder Woman (author: Charles Moulton), Strangers in Paradise (author: Terry Moore). Outcome of this research is a survey of analysed female and male characters, a summary of the visual analysis and implying results.

This diploma thesis is worked out as a proposal for a business plan for establishing a small company in the area of agriculture primary production. The worked out business plan is based on analysis of the environment for the new company and from primary research. Theoretical part of the thesis deals with basic concepts which are related to business activities in the current condition. The proposition part consists of a proposal itself for the new business plan and the perspectives of implementing the plan and also risk that come with it.