Esta tese ocupa-se da investigação da semiótica da agudeza, utilizando como corpus poemas do final do século XX, chamados neobarrocos, e fragmentos de Galáxias, de Haroldo de Campos, e Finnegans1Wake, de James Joyce. As recepções contemporâneas aos séculos XVI e XVII não entendem as produções literárias como barrocas, mas como clássicas, diferentemente, portanto, do valor atribuído ao estado de barroco constante dos textos da crítica do século XX. Da investigação das obras de Peregrini, Gracián, Hansen e Pécora, depreende-se a agudeza como sistematizadora das produções barrocas dos seiscentos. Além disso, esta pesquisa constata não a presença eufórica de barroco sincrônico ou a existência de um possível neobarroco, mas gradações da agudeza como um operador formal da poesia dita barroquista. Com base nessa agudeza, propõe-se, dentro do quadro teórico-metodológico da semiótica tensiva, demonstrar como essa poesia, vista por muitos críticos como neobarroca, é regida segundo uma oscilação que a regula, reconhecendo nela uma dominância de agudeza do plano da expressão (PE) e/ou uma dominância de agudeza do plano do conteúdo (PC). Observadas as propriedades da agudeza, os objetos poéticos apresentam diferenças tensivas que os encaminham para uma poesia que conhece a graduação entre mais fluida e mais nítida, manifestando diferenças de acentuação no obscurecimento formal do enunciado. O enunciador, ao privilegiar a vivificação das agudezas, promove uma tensão estetizante: um jogo entre o rápido prazer da conservação sensível e o demorado prazer do reconhecimento inteligível do objeto estético, dois tipos diferentes de fruição. Dividida em cinco capítulos, a tese aborda inicialmente a ausência e a presença do recorte de barroco nos estudos literários, bem como a dominância do sobrevir nos semas de barroco e a sincronia e diacronia dos estados de barroco em direção a uma agudeza idiossincrônica. Em seguida, examina o jogo tensivo entre agudeza da expressão e agudeza do conteúdo, focalizando sobretudo os tratadistas seiscentistas e as propriedades da agudeza. Ocupa-se também da negação da euforia barroquista em direção à visualidade na poesia da agudeza. Como o conceito de neobarroco varia de autor para autor, examina-se o ponto de vista de Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Affonso Ávila, Affonso Romano SantAnna, Horácio Costa, Ana Hatherly, Ivan Teixeira, para estabelecer um modelo mais conforme à semiótica tensiva. A tese trata ainda dos limites entre sensível e inteligível na poesia aguda do século XX, realizando uma recapitulação da fenomenologia em diálogo com a semiótica tensiva, da qual sobressai o conceito de fé perceptiva e de perobjeto zilberberguiano. Finalmente, entra em cena a agudeza do final do século XX na direção do objeto fluido. / This thesis is concerned with the investigation of semiotics of sharpness. Its corpus consists of poems from the late 20th century which are called \"neo-baroque\", and fragments of Haroldo de Campos Galáxias and James Joyces Finnegans Wake. Contemporary receptions to the sixteenth and seventeenth centuries do not understand the literary productions as baroque, but as classical, therefore unlike the value assigned to the \"state of baroque\" in critical texts of the 20th century. Sharpness is inferred from the research of the works of Peregrini, Gracián, Hansen and Pécora as systematizing baroque productions of the 1600s. Furthermore, this research finds not the euphoric presence of synchronous baroque or the existence of a possible neo-baroque but gradations of sharpness as a formal operator of the so-called baroqueist poetry. Based on this sharpness, and within the theoretical and methodological framework of tensive semiotics, it is proposed to demonstrate how this poetry, regarded by many critics as \"neo-baroque\", is governed according to an oscillation that regulates it, recognizing in it a sharpness dominance of the level of expression (PE plano da expressão) and / or a sharpness dominance of the level of content (PC plano do conteúdo). Once observed the properties of sharpness, poetic objects show tensive differences that forward them for a poetry that knows the graduation from more fluent to more clear, manifesting differences of emphasis in the formal obscuration of the enunciation. The enunciator, while privileging the enlivenment of sharpness, promotes aesthetic tension: a game between the quick pleasure of sensitive conservation and delayed enjoyment of intelligible recognition of the aesthetic object two different types of enjoyment. Divided into five chapters, the thesis first addresses the absence and the presence of baroque slice in literary studies as well as the dominance of occurrence in baroque units of meaning and the synchrony and diachrony of baroque states towards an idiosynchronic sharpness. Then it examines the tensive game between sharpness of expression and sharpness of content, particularly focusing on the seventeenth-century treatise writers and the properties of sharpness. It also deals with the denial of baroqueist euphoria towards the visuality in the poetry of sharpness. As the concept of \"neo-baroque\" varies from author to author, the thesis examines the viewpoint of Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Alfonso Ávila, Affonso Romano Sant\'Anna, Horácio Costa, Ana Hatherly, Ivan Teixeira, in order to establish a model more consistent with tensive semiotics. It also addresses the boundaries between sensible and intelligible in the sharp poetry of the 20th century, making a recapitulation of phenomenology in a dialogue with tensive semiotics, from which the concepts of perceptual faith and zilberbergian perobject stand out. Finally, the sharpness of the late 20th century comes into play towards the fluid object.

Elisabetta Sirani (1638-1665) est une femme peintre du XVIIème siècle bolonais. La ville de Bologne mérite en soi un discours philogyne, dans la mesure où plusieurs femmes étaient non seulement reconnues pour leur érudition, mais également diplômées dans les domaines littéraire et scientifique. Elisabetta Sirani ne déroge pas à la règle en associant une solide culture générale et une profession considérée en premier lieu comme virile : la peinture. Le profil d’Elisabetta Sirani présente à la fois un intérêt biographique et iconographique ; double orientation reliant étroitement art et littérature. Le personnage d’Elisabetta Sirani s’inscrit également dans l’histoire, superposant les différents genres littéraires. Le XIXème siècle est en ce sens révélateur de la revisitation d’un fait divers en mythe. / Elisabetta Sirani (1638-1665) was a Bolognese 17th century women painter. Bologna was considered a philogynous city, since many Bolognese women were famous for their erudition and for being laureates in literature and sciences. Elisabetta Sirani was not an exception, she was a well-educated and cultured woman whose occupation as a painter was mostly seen as a virile one. Elisabetta Sirani’s profile presents both a biographical and iconographic interest ; a double orientation that closely relates art to literature. Elisabetta Sirani was part of history too as her character was reintrepreted by various literary genres. The 19th century revealed the reinterpretation of a chronicle into a myth.

Queen Christina of Sweden (1626-1689)--one of the most celebrated, if controversial, converts of all times--settled in the papal city after her abdication in 1654. Her palace--the Palazzo Riario (today Corsini)--became one of Rome's leading cultural institutions: a site where learned, artistic, and elite culture converged. This study examines Christina's practice of collecting, and argues that her ambition was to create a center for learning and the arts in the Palazzo Riario modeled on the ancient Musaeum of Alexandria. While Christina's importance as a patron of art and learning has long been recognized, this dissertation offers the first comprehensive discussion of Christina's practice of collecting, and the architecture and ambience of her Roman palace. Based on both published and unpublished architectural drawings, inventories, household accounts, and contemporary travel descriptions, this dissertation establishes the contents and the display of Christina's collection, and the architectural plan of the Palazzo Riario. This study examines the intersection between objects and their display, issues of etiquette and decorum, and the social use of architecture in seventeenth-century Rome. It aims to contribute to the history of collecting and early museums, and to the broader field of seventeenth-century culture.

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

Esta tese ocupa-se da investigação da semiótica da agudeza, utilizando como corpus poemas do final do século XX, chamados neobarrocos, e fragmentos de Galáxias, de Haroldo de Campos, e Finnegans1Wake, de James Joyce. As recepções contemporâneas aos séculos XVI e XVII não entendem as produções literárias como barrocas, mas como clássicas, diferentemente, portanto, do valor atribuído ao estado de barroco constante dos textos da crítica do século XX. Da investigação das obras de Peregrini, Gracián, Hansen e Pécora, depreende-se a agudeza como sistematizadora das produções barrocas dos seiscentos. Além disso, esta pesquisa constata não a presença eufórica de barroco sincrônico ou a existência de um possível neobarroco, mas gradações da agudeza como um operador formal da poesia dita barroquista. Com base nessa agudeza, propõe-se, dentro do quadro teórico-metodológico da semiótica tensiva, demonstrar como essa poesia, vista por muitos críticos como neobarroca, é regida segundo uma oscilação que a regula, reconhecendo nela uma dominância de agudeza do plano da expressão (PE) e/ou uma dominância de agudeza do plano do conteúdo (PC). Observadas as propriedades da agudeza, os objetos poéticos apresentam diferenças tensivas que os encaminham para uma poesia que conhece a graduação entre mais fluida e mais nítida, manifestando diferenças de acentuação no obscurecimento formal do enunciado. O enunciador, ao privilegiar a vivificação das agudezas, promove uma tensão estetizante: um jogo entre o rápido prazer da conservação sensível e o demorado prazer do reconhecimento inteligível do objeto estético, dois tipos diferentes de fruição. Dividida em cinco capítulos, a tese aborda inicialmente a ausência e a presença do recorte de barroco nos estudos literários, bem como a dominância do sobrevir nos semas de barroco e a sincronia e diacronia dos estados de barroco em direção a uma agudeza idiossincrônica. Em seguida, examina o jogo tensivo entre agudeza da expressão e agudeza do conteúdo, focalizando sobretudo os tratadistas seiscentistas e as propriedades da agudeza. Ocupa-se também da negação da euforia barroquista em direção à visualidade na poesia da agudeza. Como o conceito de neobarroco varia de autor para autor, examina-se o ponto de vista de Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Affonso Ávila, Affonso Romano SantAnna, Horácio Costa, Ana Hatherly, Ivan Teixeira, para estabelecer um modelo mais conforme à semiótica tensiva. A tese trata ainda dos limites entre sensível e inteligível na poesia aguda do século XX, realizando uma recapitulação da fenomenologia em diálogo com a semiótica tensiva, da qual sobressai o conceito de fé perceptiva e de perobjeto zilberberguiano. Finalmente, entra em cena a agudeza do final do século XX na direção do objeto fluido. / This thesis is concerned with the investigation of semiotics of sharpness. Its corpus consists of poems from the late 20th century which are called \"neo-baroque\", and fragments of Haroldo de Campos Galáxias and James Joyces Finnegans Wake. Contemporary receptions to the sixteenth and seventeenth centuries do not understand the literary productions as baroque, but as classical, therefore unlike the value assigned to the \"state of baroque\" in critical texts of the 20th century. Sharpness is inferred from the research of the works of Peregrini, Gracián, Hansen and Pécora as systematizing baroque productions of the 1600s. Furthermore, this research finds not the euphoric presence of synchronous baroque or the existence of a possible neo-baroque but gradations of sharpness as a formal operator of the so-called baroqueist poetry. Based on this sharpness, and within the theoretical and methodological framework of tensive semiotics, it is proposed to demonstrate how this poetry, regarded by many critics as \"neo-baroque\", is governed according to an oscillation that regulates it, recognizing in it a sharpness dominance of the level of expression (PE plano da expressão) and / or a sharpness dominance of the level of content (PC plano do conteúdo). Once observed the properties of sharpness, poetic objects show tensive differences that forward them for a poetry that knows the graduation from more fluent to more clear, manifesting differences of emphasis in the formal obscuration of the enunciation. The enunciator, while privileging the enlivenment of sharpness, promotes aesthetic tension: a game between the quick pleasure of sensitive conservation and delayed enjoyment of intelligible recognition of the aesthetic object two different types of enjoyment. Divided into five chapters, the thesis first addresses the absence and the presence of baroque slice in literary studies as well as the dominance of occurrence in baroque units of meaning and the synchrony and diachrony of baroque states towards an idiosynchronic sharpness. Then it examines the tensive game between sharpness of expression and sharpness of content, particularly focusing on the seventeenth-century treatise writers and the properties of sharpness. It also deals with the denial of baroqueist euphoria towards the visuality in the poetry of sharpness. As the concept of \"neo-baroque\" varies from author to author, the thesis examines the viewpoint of Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Alfonso Ávila, Affonso Romano Sant\'Anna, Horácio Costa, Ana Hatherly, Ivan Teixeira, in order to establish a model more consistent with tensive semiotics. It also addresses the boundaries between sensible and intelligible in the sharp poetry of the 20th century, making a recapitulation of phenomenology in a dialogue with tensive semiotics, from which the concepts of perceptual faith and zilberbergian perobject stand out. Finally, the sharpness of the late 20th century comes into play towards the fluid object.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-09-20T18:42:07Z No. of bitstreams: 1 Maranhao Restauracao Portuguesa.pdf: 2733437 bytes, checksum: 90bd89918fe6abc32e303d70d9f6ba55 (MD5) / Made available in DSpace on 2017-09-20T18:42:07Z (GMT). No. of bitstreams: 1 Maranhao Restauracao Portuguesa.pdf: 2733437 bytes, checksum: 90bd89918fe6abc32e303d70d9f6ba55 (MD5) Previous issue date: 2016-12-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study analyzes the role of Maranhão in the political-prophetic writings of Father Antônio Vieira. In the context of the Restoration War (1640-1668), the vast work of Father Antonio Vieira, which includes letters, sermons and his prophetic-political writings, reinvents the theme of universalism to include the newly restored nation in the plans for recognition and legitimacy of Their independence. However, his writings are beyond the European space, setting also in Portuguese America and in the State of Maranhão itself. The present 9study investigates the impacts of the Restoration and the Luso-Castilian war in this territory and in what we can call the Equatorial Atlantic. Thus, we seek to understand how associated elements such as Vieira's diplomacy, the war of restoration, the Equatorial Atlantic and the State of Maranhão are integrated into a project at the same time of political conquest and conversion, reinvented within the limits of portuguese providentialism. / O presente estudo analisa o papel do Maranhão nos escritos político-proféticos do Padre Antônio Vieira. No contexto da Guerra de Restauração (1640-1668), a vasta obra do Padre Antônio Vieira, que incluindo cartas, sermões e seus escritos políticosproféticos, reinventa o tema do universalismo para incluir a recém restaurada nação nos planos de reconhecimento e legitimidade de sua independência. Entretanto, seus escritos estão para além do espaço europeu, fixando-se também na América portuguesa e no próprio Estado do Maranhão. O presente estudo investiga os impactos da Restauração e da guerra luso-castelhana neste território e no que podemos chamar de Atlântico Equatorial. Assim, buscamos compreender como elementos associados, como a diplomacia vieiriana, a Guerra de Restauração, o Atlântico Equatorial e o Estado do Maranhão se integram em um projeto ao mesmo tempo de conquista política e de conversão, reinventados nos limites do providencialismo português.

Excerpt: It was the sixties—albeit the 1660s—a time for tricksters, rakes, subversive women and sexual energy on the stage. It was a time of fun for those with the means to partake of it. The “good old days” are, of course, always better from a distance, but writers on through the twentieth century found the Restoration an apt setting for their fictions about prostitution, political intrigue, and tragic or comic historical events, especially for the cinema.

La critique récente sur Aphra Behn (1640-1689) a montré d’une part que ses courts romans entretiennent des liens privilégiés avec le champ de la philosophie naturelle montante et d’autre part, que le monstrueux ou l’exotique sont des motifs privilégiés de ses œuvres. Ce travail vise à mettre en lien ces deux différentes approches, en établissant la centralité de la notion de curiosité dans la fiction d’Aphra Behn. La curiosité est une notion ambivalente au XVIIe siècle qui, bien qu’elle continue à porter des connotations négatives d’origine chrétienne et médiévale, s’est vue revalorisée par la philosophie naturelle. A la même époque, la notion de curiosité suscite également un regain d’intérêt de la part des théoriciens du roman ; Behn se positionne dans le débat esthétique et épistémologique de son temps en revendiquant une mimesis originale du vrai absolu, qui refuse d’intéresser son lecteur par une curiosité pour les choses familières, et choisit de représenter l’extra-ordinaire. Behn tente de discriminer entre une « bonne » et une « mauvaise » curiosité, pour se poser en curieuse et en collectionneuse avisée, mais continue d’entretenir des liens avec une culture plus populaire de la curiosité, celle des spectacles de foires. Le « cabinet de curiosité littéraire » que construit Aphra Behn privilégie des figures de monstres atypiques, qui permettent d’inventer une forme romanesque curieuse et transgressive. / Recent research on Aphra Behn has shown the link between the scientific prose of the period and Behn’s narrative fiction, while other scholars have underscored the importance of bodily and moral deformity in her works. Drawing on these apparently heterogeneous studies, this project aims at providing a global aesthetic framework for Behn’s fiction. The epistemological context of the late seventeenth century offers a stimulating insight in Behn’s fiction, especially through the notion of “curiosity”. This notion is at the centre of both the scientific and literary concerns of the period; the growing interest in natural philosophy progressively rehabilitates curiosity – which had been an object of scorn in the Augustinian tradition – first by valuing curiosity as the ideal attitude of the “scientist”, and by having curiosities as its major object of study – the rare, new, and unusual objects of the Wunderkammern replacing the “universal” objects of study of the Medieval and Renaissance science. At exactly the same time, in the literary field, the notion of curiosity undergoes a redefinition, in a somewhat similar fashion to that which occurs in the scientific field, shifting from the “generalities” of idealized romance to a new conception of curiosity in the emerging genre of the novel. Behn advocates for a radical mimesis of truth and extraordinary curiosities. At the time when Aphra Behn writes her fictional texts, curiosity is therefore a polysemic notion, whose unity can nonetheless be found in a set of specificities: curiosity is concerned, both in science and in literature, with the emotions/reactions of the “curious” scientist or reader; it is what leads us to experiment, and it comes from a desire for knowledge. But curiosity is also a transgressive desire: the distinction between two types of curiosity, a “good” and a “bad” curiosity, is central in Behn’s discourse. The parallel between Behn’s fascination with curiosities and the scientific episteme of her time is obvious in the numerous descriptions of exotica in Oroonoko, as the narrator explicitly compares the objects she shows to those which form part of the Royal Society repository, but the rest of Behn’s fiction is also concerned with this preoccupation with curiosity: in several of her other works, moral irregularities are conjoined with ‘natural’/physical irregularities which belong to the realm of curiosities. The various transgressions depicted in Behn’s fiction can therefore be seen as “curiosities”; Behn’s work can be read as a sort of Wunderkammern, as she herself seems to suggest when she wishes her novels were “esteem’d as Medals in the Cabinets of Men of Wit” – novelists collect and experiment on human nature just as natural philosophers do with nature (and art) in the cabinets of curiosities. But in her fiction Behn actually goes beyond the conventional notion of the cabinet of curiosities, by insisting on moral and physical monstrosity. In underlining the importance of the realm of curiosity in Behn’s fiction, this study aims at showing the specificity of her aesthetics and the originality of her conception of the novel; as she states in the preface to Oroonoko, writers, like painters, are supposed to “erase” defects: by deliberately choosing not to idealize nature, men, or society, and by choosing to systematically depict deformity and exceptions instead (rather than exemplary individuals), Aphra Behn invents her own conception of the novel, a sensationalist aesthetic of the “strange and novel”.

Broad changes in early-modern English society were often reflected in the community via a 'war of words'. A close investigation of the social circumstances of individuals and of the relationships between individuals who were caught up in verbal crime provides a detailed context or 'micro-history' of this phenomenon, which in turn sheds light on the socio-economic changes occurring in the Northwest during this period. Since crimes associated with speech increased fourfold between 1580-1680, an investigation of the symbolic domain of speech is important to an understanding of early-modern society. This includes an investigation of chiding, cursing and scolding. In this thesis, the sources of female power in the early-modern community are examined, as well as the dynamics of ill-will behind female verbal crime. Such crimes are researched from manuscripts of proceedings in the local church courts and quarter sessions, which often provide insights into the popular politics of early-modern towns. By examining such texts, we may access a 'micro-history' of gossip that contributes to the debate over such micro-historical questions as gender, social politics and female social space. Networks of power and factional divisions with the community are revealed by exploring the attitudes of those involved in cases of female verbal crime, since individuals from every walk of life appeared in order to give evidence / Doctor of Philosophy (PhD)

本論文以英國17世紀形上詩人唐恩的詩為研究對象。共分為三章，第一章分析唐恩在《歌與十四行詩集》(The Songs and Sonets)中的愛情觀。第二章分析唐恩的形上派奇想(metaphysical conceit)。第三章以唐恩的兩首《週年紀念》(The Anniversaries)為對象，討論其中包含的宗教觀，哲學觀，及生死觀。 / This thesis intendes to analyze John Donne's poetry. The thesis is divided into three chapters. The first chapter is devoted to the study of Donne's views of love in the Songs and Sonets. The second chapter is devoted especially to Donne's use of metaphysical conceit. The third chapter is a study of Donne's Anniversaries, two long poems dealing with science, philosophy, life, and death.