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<p>This dissertation examines the development of Huguenot confessional identity and political strategy under the Edict of Nantes through sermons. Here, sermons serve as a vital medium of ideological exchange, shaping and reflecting the mental world of France's Protestant population, while acting as a source of dialogue between Huguenot ministers, their parishioners and readers, and the crown. As a result, this study demonstrates the cultural tools that influenced how the Huguenot population made sense of their position in France in the seventeenth century, and it shows that, while Huguenots lost much of their effective political power after 1629, their ministers were active in the decades after through informal but telling channels, instructing their parishioners about proper civic and political belief, and positing for their various audiences a view of the French polity – and of its absolutist monarchy – that included a legitimate place for the Huguenot population.</p> <p>The introduction and the first chapter provide the historical and historiographical background, while also offering a detailed explanation of the training and vocation of Huguenot ministers, shedding light on their sermons and their social and professional networks. Chapters two and three provide the heart of the argument, exploring the elements of the sermons that emphasized, first, the necessity of religious particularism for Huguenots within France and, second, their abiding devotion to the crown. Together, these dual elements of Huguenot identity meant that they were negotiating their own vision for the kingdom and their place within it. The final three chapters examine the prevalence and significance of the Huguenot dual identity in diverse sermon themes, while also showing its legacy beyond the Revocation of the Edict of Nantes.</p> <p>This dissertation provides an important contribution to Reformation and French historiography, while also complicating notions about religious identity and the development of absolutist thought by demonstrating a confessionally-distinct political activism that is not often recognized. It also reveals the interwoven nature of religion and politics in the Reformation era, here as it is manifested in sermons.</p> / Doctor of Philosophy (PhD)

L’année 1629 voit la sédentarisation parallèle des deux troupes théâtrales parisiennes, celle du Théâtre du Marais, dirigée par Charles Le Noir, et la Troupe Royale, locataire du prestigieux Hôtel de Bourgogne. Ces deux compagnies – auxquelles se joint ponctuellement, en 1644-1647, l’Illustre Théâtre de Molière et des Béjart – se livrent une concurrence serrée, qui passe notamment par l’usage du doublage dramatique : deux pièces, composées par deux dramaturges différents, mais fondées sur le même sujet, sont présentées, à quelques semaines ou mois d’intervalle, sur deux scènes parisiennes distinctes. Les deux premières décennies de cette Guerre des théâtres présentent quarante et un doublons dramatiques de ce type. L’investigation s’attache d’abord à les replacer dans le contexte de leur création : au carrefour des thèmes dramatiques contemporains et de la rivalité théâtrale, les pièces jumelles épousent les courants du répertoire, qu’elles contribuent simultanément à alimenter, au gré de thématiques prédominantes : l’univers romanesque de la piraterie, la rivalité fraternelle, la thématique de l’Innocence persécutée, la figure de l’Illustre héroïne, parangon de vertu ou odieuse furie, et le théâtre lui-même, que la concurrence prend pour objet au sein de pièces qui figurent ses types (le Capitan), son univers quotidien (le Paris de 1640), ou encore ses plus grands succès (Le Cid, notamment). Cette section historique de l’enquête fait simultanément apparaître les correspondances qui se tissent non seulement entre les pièces jumelles, mais également avec le reste de la production contemporaine : le rival n’est pas toujours celui qu’on croit. La suite de l’étude s’attache aux modalités du fonctionnement de la concurrence. En premier lieu, celle-ci ne peut faire l’économie d’une publicité affichée, qui lui assure l’aura nécessaire à son efficacité et en fait bénéficier les pièces qu’elle soutient. L’investigation prend ensuite pour objet les enjeux dramaturgiques et scénographiques des pièces rivales. Les premiers sont l’affaire stricte des dramaturges, dont le rapport à l’Histoire ou la Fable se complique de celui qu’ils entretiennent avec leur rival. La perspective scénographique tente enfin de déterminer quels aspects du spectacle chaque troupe entend faire valoir, dans l’entreprise toujours éphémère de susciter le plaisir théâtral. / In the year 1629, two Parisian theatre companies settled down at the same time: the company of the Théâtre du Marais, led by Charles Le Noir, and the Troupe Royale, resident of the renowned Hôtel de Bourgogne. These two companies – which were sometimes joined by the Illustre Théâtre de Molière et des Béjart in 1644-1647 – were engaged in a fierce competition, mostly revealed by the common practice of twin plays : two plays, written by two different playwrights, but dealing with the same subject, were presented, at an interval of a few weeks or of a few months in two different Parisian theatres.Over the first two decades of this theatre War, forty-one dramatic twin plays were performed. The study first consists in explaining the context of their creation: with the combination of the theatrical themes of the time and the theatrical rivalry, the twin plays adopted the trends of the repertoire, and enriched them at the same time, through these main themes : the fabulous world of piracy, brotherly rivalry, the recurrent theme of persecuted Innocence, the figure of the Illustrious heroin, either a paragon of virtue or an odious shrew, and theatre itself, a subject chosen by the rivals for the plays which presented its great figures (le Capitan), its surroundings (Paris in 1640), or its greatest achievements (Le Cid, mainly). This historical part of the study simultaneously reveals the similarities between the twin plays and also their link with the other plays of the time : the rivals are not always the ones you would expect.What follows in the study deals with how this competition took place. Primarily, deliberate advertising was a key notion because it gave the prestige it needed to reach its goal and the plays it supported benefited from it. Then, the study focuses on the stakes in the dramatic and scenographic arts in rival plays. Dramaturgy was the business of playwrights only. Their relation to the Story or Fable was also influenced by their relationship with their rival. Finally, scenography was meant to choose the aspect of the show each company would focus on, whose aim always was theatrical enjoyment, short-lived as it may be.

This thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de Visé establishes that comedy can be both enjoyable and satisfying while incorporating elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy. Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected comedic marriages, particularly as these desires relate to fertility, is the guiding principle of Chapter Three, which also sets out essential terms of reference for the fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate' or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.

Esta dissertação objetiva compreender a prática dos descimentos indígenas no Estado do Maranhão e Grão-Pará, entre os anos 1680 e 1750. Além de buscarmos entender de que forma esta política contribuiu para a expansão das fronteiras coloniais e para a inserção de mão de obra no Estado, analisamos a atuação e os interesses dos agentes envolvidos na realização dos descimentos, a saber: principais indígenas, missionários, funcionários régios, moradores, deputados da Junta das Missões e populações nativas / The aim of this dissertation is to understand the practice of descimentos in the state of Maranhão e Grão-Pará, between the years 1680 and 1750. Besides, this work also aims to understand how this policy contributed to the expansion of colonial borders and to the inclusion of labor in the state. Furthermore, we analyze the performance and the interests of the agents involved in the descimentos, such as: Indian leaders, missionaries, royal officials, settlers, members of the Tribunal da Junta das Missões and native populations