Il nous reste aujourd’hui 358 lettres autographes et une copie écrites d’Angélique de Saint-Jean Arnauld d’Andilly à Angélique Angran de Fontpertuis. Ces lettres sont des documents précieux pour des raisons historiques, culturelles et littéraires. La mère Angélique de Saint-Jean était la dernière abbesse Arnauld de Port-Royal et une femme aux dons intellectuels extraordinaires : un « prodige », selon une autre grande épistolaire du XVIIe siècle, Mme de Sévigné. Je propose une édition critique complète des lettres annotées de cette religieuse à Mme de Fontpertuis, veuve et amie fidèle du monastère et de la famille Arnauld. Mon édition est précédée d’une introduction à cette correspondance remarquable. J’y examine d’abord la pratique de la lettre chez Angélique de Saint&Jean, dont les lettres traversent le silence et la clôture monastiques pour, selon l’expression de l’époque, « entretenir » son amie, qui se trouve dans le monde. Ma deuxième partie porte sur le thème de l’amitié dans les lettres :celles-ci servent d’écran sur laquelle l’attachement des deux femmes est projetée. Cette amitié est bien sûr une amitié chrétienne et spirituelle dans laquelle Angélique de Saint-Jean assume souvent le rôle de directrice spirituel. Toutefois, nous verrons que cette direction spirituelle est parfois réciproque. J’étudie dans une dernière partie le rôle de Dieu dans cette correspondance. Dieu est omniprésent, de la croix marquée en haut des lettres aux thèmes qui reviennent sans cesse : la retraite, la charité, la Providence, la maladie, et la mort. Cette amitié épistolaire entre les deux correspondantes se définit avant tout comme une amitié en Dieu. / We have today 358 extant autograph letters and one copy of a letter from Angélique de Saint-Jean Arnauld d’Andilly addressed to Angélique Angran de Fontpertuis. These arevaluable documents for historical, cultural and literary reasons. Mère Angélique de Saint-Jean was the last Arnauld abbess of Port-Royal, and her intelligence and education have established her as one of the great woman intellects of her time. A fellow seventeenth-century letter writer, Mme de Sévigné, refers to her a “prodigy”. My thesis is a complete critical edition of the letters written by Angélique de Saint-Jean to Mme de Fontpertuis, a widow and a loyal friend of Port-Royal and the Arnauld family. I precede this edition with an introduction to the correspondence, in which I examine firstly Angélique de Saint-Jean’stechniques of letter writing: her letters break through the monastic silence and enclosure toreach Mme de Fontpertuis, who lives outside the monastery walls, in the world. Secondly, Istudy the theme of friendship in the letters, which serve as a screen onto which theattachment of the two women is projected. This friendship is obviously a Christianfriendship, and a spiritual one in which Angélique de Saint&Jean often takes on the role ofspiritual director. We will see, however, that the spiritual direction can be reciprocal. Lastly,I look at the role of God in the correspondence: God is omnipresent, from the cross marked at the top of the letter to themes which crop up constantly: retreat, charity, Providence,illness, and death. The epistolary friendship between the two women can be defined as,above all, a friendship in God.

The subject treated in this thesis is the doctrine of the church among the English Calvinistic Baptists in the period, circa 1640-1660. This timeframe covers the significant phase of early Calvinistic Baptist emergence in society and literary output. The thesis seeks to explore the development of theological commitments regarding the nature of the church within the turbulent historical context of the time. The background to the emergence of the Calvinistic Baptists was the demise of the Anglican Church of England, the establishment by Act of Parliament of the Westminster Assembly of Divines, and the establishment of a Presbyterian Church of England. The English experiment with Presbyterianism began and ended in the years covered in this work. Ecclesiology was thus one of the most important doctrines under consideration in the phase of English history. This thesis is a contribution to understanding alternative forms of ecclesiology outside of the mainstream National Church settlement. It will be argued in this thesis that the emergence and development of Calvinistic Baptist ecclesiology was a natural development of one stream of Puritan theology of the church. This was the tradition associated with Robert Brown, and the English separatist movement dating from the 1570s. This tradition was refined and made experimental in the work of Henry Jacob. Having developed his ecclesiology in the Netherlands, in 1616 Jacob founded a congregation in Southwark, London from which Calvinistic Baptists would emerge with distinct baptismal convictions by 1638. Central to Jacob's ideology was the belief that a rightly ordered church acknowledged Christ as King over his people. The Christological priority of early Calvinistic Baptist ecclesiology will constitute the primary contribution of this thesis to investigation of dissenting theology in the period.

Jean Auvray (1580 ? - 1624), poète normand, auteur de pieux ouvrages comme de « satyres » grinçantes ou grivoises, figure en bonne place dans les anthologies de la poésie baroque française. Et pourtant l’homme et le poète demeurent pour une large part méconnus du public moderne. La lecture de ses œuvres se réduit le plus souvent à celle d’extraits ou de morceaux de bravoure. Il a toutefois, contrairement à d’autres minores de son temps, laissé derrière lui un grand nombre de pièces poétiques qu’il s’était donné la peine de faire imprimer sous son nom. À travers sa trajectoire personnelle, comme à travers l’abondance et la variété des pièces qu’il a produites, s’esquisse un autre parcours d’écrivain que celui des « modèles » auxquels l’histoire littéraire ou même la sociologie historique nous ont habitués. C’est précisément ce parcours à la fois singulier et exemplaire que notre recherche s’est efforcée de restituer. Une partie introductive pose à cet effet des jalons biographiques et bibliographiques permettant de cerner au plus près les contours de l’homme et du poète qu’il fut à cette époque. Elle analyse ensuite différents jugements critiques portés sur le « sieur Auvray », afin d’ouvrir de nouvelles pistes à la compréhension et à l’analyse de ses œuvres. La seconde partie consiste en une édition critique de l’ensemble de ses « essais poétiques », en suivant l’ordre chronologique de leur parution. / Jean Auvray (1580 ?-1624), a Norman poet who composed pious poems as well as bitter and even bawdy satires, holds a significant place among the authors featured in anthologies of French baroque poetry. The man and the poet remain largely unknown to most modern readers, however. For the most part, knowledge of his works is limited to a few extracts and bravura passages of verse. Yet, unlike other “minores” of his time, he left behind a large number of poems, which he took the trouble to have printed under his own name. His personality, his career and the abundant and various production he has handed down to us reveal a writer whose path differs from the usual “models” we know from literary history or even historical sociology. In our research, we have attempted to reconstruct this path, at once remarkable and exemplary. The first section establishes some biographical and bibliographical landmarks that enable us to sketch out a portrait of the man and the poet in his time. It then analyzes the various critical judgements passed on the “sieur Auvray”, in order to open new avenues towards a better understanding and analysis of his works. The second section consists in a critical edition of his complete “poetical essays”, in chronological order of publication.

Contre une conception essentialiste du point de vue du genre, et irénique, de la galanterie, cette étude appréhende cette dernière en termes d’histoire de la sexualité pour mettre en évidence la mise en place d’une micropolitique galante dès le premier XVIIe siècle. Elle se concentre sur les premières comédies de Corneille, dont le succès fait fond sur l’essor d’une nouvelle culture amoureuse, la galanterie. La première partie problématise le succès du discours galant, qui, produit par la sphère des belles lettres, peut toujours tourner à la simple politesse, mais ne s’en impose pas moins dans le contexte de la mixité d’ancien régime. La comédie cornélienne constitue ainsi une technologie galante où s’élabore, et d’où se diffuse, le discours galant qui, en régulant le commerce amoureux, légitime le mariage d’amour. La deuxième partie appréhende le conflit dramatique autour duquel s’organise l’intrigue galante en termes de constructionnisme social pour définir les contours de l’érotique galante. Dispositif « hétérotopique », la galanterie commande des processus de subjectivation tels que l’amour hétérosexuel cède désormais le pas à l’amitié homosociale, naturalisant du même coup le lien entre sexe et investissement affectif – ce complexe bientôt appelé « sexualité ». La galanterie s’inscrit ainsi dans la généalogie de la matrice hétérosexuelle. La troisième partie aborde la dramaturgie tragique de Corneille et montre comment la tragédie classique, en réponse à la tendance du discours galant à fonctionner à titre d’art de plaire autant qu’à titre d’art d’aimer, a inventé un discours amoureux adapté à l’individualisme moderne : non plus l’amour comme « passion de l’âme », mais, tout simplement, « la passion ». / As opposed to an irenic conception of gallantry that also relies on an essentialist definition of gender, this study addresses gallantry in terms of the history of sexuality, so as to emphasize the deployment of a gallant micropolitics the early 17th century France. It focuses on the success of Pierre Corneille’s comedies in the context of the blooming of a new amorous culture, soon to be called gallantry. The first part problematizes the discourse of gallantry produced by the sphere of the belle-Letters, which can always turn to mere courtesy, but nevertheless becomes pervasive to regulate men/women interactions in the Ancien Régime France. The Cornelian comedy functions as a gallant technology that produces and diffuses the discourse of gallantry, which organizes amorous relationships so as to legitimize love marriage. The second part addresses the conflict around which turns the whole plot of Corneille’s gallant comedies in terms of social constructionism, so as to account for the erotic subjectivities construed by gallantry. As an “heterotopic” apparatus, gallantry implies processes of subjectivation such that heterosexual love now prevails over homosocial friendship, thereby naturalizing the link between sex and emotional investment – a complex soon to be called “sexuality”. Thus, gallantry is part of the genealogy of the heterosexual matrix. The third part focuses on Pierre Corneille’s poetics of tragedy, and shows that the genre of the 17th century French tragedy replied to the tendency for the discourse of gallantry to function as a form of politeness rather than an authentic form of love by inventing an amorous discourse more suitable to modern individualism, and which no longer depicts love as a “passion of the soul” but simply as, in French, la passion.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T18:28:05Z No. of bitstreams: 1 hugoandrefloresfernandesaraujo.pdf: 1169515 bytes, checksum: d151b1391f0902b45ab676a543d72cc7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-28T10:52:13Z (GMT) No. of bitstreams: 1 hugoandrefloresfernandesaraujo.pdf: 1169515 bytes, checksum: d151b1391f0902b45ab676a543d72cc7 (MD5) / Made available in DSpace on 2016-01-28T10:52:13Z (GMT). No. of bitstreams: 1 hugoandrefloresfernandesaraujo.pdf: 1169515 bytes, checksum: d151b1391f0902b45ab676a543d72cc7 (MD5) Previous issue date: 2014-02-12 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Após a aclamação de D. João IV uma série de medidas foi adotada para garantir a permanência da nova dinastia à frente do trono português. Nesse contexto as guerras passam a ser eventos constantes e por conseqüência produziram transformações de ordem política, econômica e social. No Estado do Brasil a presença holandesa era efetiva desde 1630, fato que ameaçava a unidade da América Portuguesa, e por conseqüência gerava interferências na economia lusobrasileira, pois os holandeses controlavam rentável produção açucareira. O governador geral era o representante do rei no Estado do Brasil, como tal era imbuído de poderes extraordinários nos campos da justiça, fazenda e milícia. Estes poderes lhe conferiam a autoridade para governar o Estado do Brasil. A insurreição dos moradores de Pernambuco e de outras áreas ocupadas pelos neerlandeses iniciou o processo que levou a capitulação definitiva dos invasores estrangeiros. O governo geral atuou em conjunto com os luso-brasileiros de Pernambuco para derrotar os holandeses. Nosso objetivo é analisar quais foram as medidas tomadas pelo governo geral no tocante a gestão da guerra, bem como caracterizar como eram estabelecidas as relações com os poderes locais. / After the acclamation of D. João IV a series of measures were adopted to ensure the permanence of the new dynasty ahead of the Portuguese throne. In this context the wars become constant events and consequently produced changes in politic, economic and social order. In the State of Brazil the Dutch presence was effective since 1630, a fact that threatened the unity of Portuguese America, and consequently generated interference in Luso- Brazilian economy, because the Dutch controlled the profitable sugar production. The general governor was the king’s representative in the State of Brazil, as such was imbued with extraordinary powers in the fields of “justiça”, “fazenda” and “milicia”. These powers gave it the authority to govern the State of Brazil. The uprising of the people of Pernambuco and other areas occupied by the Dutch started the process that led to the final capitulation of the foreign invaders. The general government acted in conjunction with the Luso-Brazilian from Pernambuco to defeat the Dutch. Our goal is to analyze what were the measures taken by the general government regarding the management of the war, as well as characterize how were established relations with the local authorities.

Le corpus du projet repose sur les Cartapácios de Coimbra, un ensemble de manuscrits du milieu du XVIIe siècle, résolument passionnants et pratiquement inédits, issus de Santa Cruz et conservés à la Bibliothèque Générale de l’Université de Coimbra. Le présent travail s’inscrit dans un projet de recherche multidisciplinaire en cours à l’Université de Coimbra (Mundos e Fundos | CECH), et se concentre sur l´un des seize manuscrits de cette collection : le manuscrit musical 51 (MM 51). Il constitue la première étude détaillée d’un cartapácio comportant également son édition critique complète. Cette étude monographique engage également une confrontation permanente avec les quinze autres cartapácios et avec son contexte spécifique portugais et ibérique.D’après notre étude philologique, le MM 51 s’avère un cahier d’usage personnel d’un musicien à l’œuvre. Il contient un répertoire très varié regroupant des œuvres sur textes latins et sur textes vernaculaires. Les propositions polyphoniques que le manuscrit offre sont multiples et variées, souvent au sein d’une même œuvre, et appartiennent à un langage typiquement ibérique. La majorité de la musique est écrite à huit voix, toujours en polychoralité et accompagnée d’un guião, avec divers contrastes produits notamment par un style concertato.Le travail est fondé sur une approche positiviste, philologique et critique, le tout enrichi par une expérimentation analytique et sensible du répertoire, grâce au laboratoire musicale de la Capella Sanctae Crucis.Notre thèse espère ainsi contribuer à enrichir les fondements d’une meilleure connaissance de l’activité musicale du XVIIe siècle portugais. / This study is based on Cartapácios de Coimbra, an ensemble of practically unstudied seventeenth century music manuscripts preserved at Coimbra’s University Library (Biblioteca Geral da Universidade de Coimbra). It is part of a multidisciplinary research project currently in progress at University of Coimbra (Mundos e Fundos | CECH). The research is concentrated on one manuscript among the sixteen that constitute this collection: musical manuscript 51 (MM 51). This study is the first ever detailed study over one cartapácio including its complete critical edition. Although focussing primarily on one cartapácio, a comparative analysis with the respect to the other fifteen cartapácios was also conducted, and located in the specific Portuguese and Iberian context.According to our philological study, the MM 51 seems to be a notebook for private use of a working musician. It contains a very diverse repertoire comprising both vernacular and Latin works. The polyphonic settings in the manuscript are multiple and varied, often within the same work, and belong to a typically Iberian language. The majority of the music is written for eight voices, always in polychorality and accompanied by a guião, with various contrasts produced in particular by a concertato style.A positivist, philological and critical approach was taken in the research, which was supplemented by an experimental performance of the repertory, thanks to the musical laboratory Capella Sanctae Crucis.It is hoped that this thesis study will substantially enrich the knowledge base of Portuguese seventeenth century musical activity.

The dissemination of monastic culture int he Grand Duchy of Lithuania had a profound effect on the country’s cultural life. By the seventeenth century quite a few Christian religious orders had sent their members to settle here. Since the Christianization of the Grand Duchy of Lithuania in 1387 monastics became instrumental in creating, preserving and enhancing the institutions of religious and secular learning and in transmitting Western cultural goods, artefacts, and intellectual skills. When the first Franciscan and Dominican friars settled in the territory of pagan Lithuania in the beginning of the thirteenth century, they sought acceptance within the local society and laid foundation for the arrival of Roman Catholic Church in theselands. The official Christianization of the Grand Duchy of Lithuania led to even more active expansion of monastic networks and activities. The latter extended to various domains of culture and social life, catering to theneedsofdifferentclasses. Living in isolated communities, some of them under a strict rule,monks and mendicant friars were harbingers of Western civilization in many areas of the country’s life (like medicine, agronomy, gastronomy) and social domains, including learning and arts.

No description available.

My paper investigates Peter Paul Rubens’ female portraits in terms of the male and female gaze, psychoanalytic analysis, and historical context. My research will support the idea that Rubens painted women in a sexualized manner based on what Foucault coins the male gaze.[1] The paintings evaluated in this project include portraits of Rubens’ wives, Isabella Brandt and Helene Fourment, and portraits of wealthy patrons such as Marchesa Brigida Spinola Doria, Anne of Austria, and Marie de’ Medici. It is incorrect to view these paintings as pure, complete depictions of identity because women in this time were always defined and observed by men.[2]However by deconstructing the male gaze and also acknowledging the role of the active female gaze of the subjects of these works, a more complex construction of female identity is uncovered. Throughout history the feminine has been generalized to be passive and silent. My project aims to build on recent feminist scholarship that works to uncover more responsible and representative descriptions of the images of women in history. [1]Michel Foucault, “Discipline and Punish” from Literary Theory: An Anthology, ed. by Julie Rivkin and Michael Ryan, (Malden: Blackwell Publishing Ltd., 2004), 549-565. [2]Patricia Simons, “Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture,” edited by Norma Broude and Mary Garrard, The Expanding Discourse: Feminism and Art History (New York: Harper Collins, 1992): 44.

No description available.