In dominant seventeenth-century thinking women's bodies, minds, and spirits were not only inferior to men's, but also more prone to evil. This study explores the ways in which the women writers attempted to redefine these assumptions. Through an analysis organised along various spiritual transformations the writers claim to go through, the study presents an insight into seventeenth-century women's construction and redefinition of femininity. The symbolic process of women's spiritual transfiguration results in them identifying with the metaphorical figure of Zion and in positioning women as godly agents of God, whereas male writers' transformations eventuate in their being effeminized and being turned into 'Crooked Agents' of God. Therefore, the study shows how the potentials inherent in the biblical figure of Zion were used in establishing a connection with God and in forming female and male authorial identity. The thesis draws on the understudied voices of women such as the anonymous Eliza, Elizabeth Major, An Collins or Gertrude More, and is contextualized by male-authored texts, some of them considered as canonical and popular in contemporary literature.

This dissertation explores how feeling was of central importance to the religiosity of Protestants in the north west of England between 1660 and 1740. It demonstrates how in their personal, familial, public and voluntary religious practices these Protestants understood the cultivation of emotions, or more precisely 'affections', as indispensable for the fulfilment of their devotional exercises. Each of these practices was constructive of communities that were linked by feeling and within which different forms of affective norms were expected. These communities preserved much of that godly culture which had otherwise characterised English Protestantism in the earlier seventeenth century. Moreover, by doing so they frequently minimised in part the importance of conformity to the Church of England. Friendships were maintained between conformists and nonconformists and they shared in a culture of religious feeling, which drew on the same topoi in their religious activities. This thesis will make original contributions to a number of debates. It challenges the prevailing narratives of a 'reaction against enthusiasm' dominating the religious discourse of the period. In contrast, it suggests that through the cultivation of feeling, Protestants in the period between the re-establishment of the Church of England and the Evangelical Revival continued to experience a vital religiosity. It thus also questions the suitability of describing some religious movements as inherently more 'emotional' than others. A more viable exploration can be found in differing forms of emotionality in different religious cultures. By examining the north west of England the thesis also revises the notion that the region was spiritually impoverished before the rise of Methodism, or that the religion provided by the Church of England and Protestant nonconformity failed to engage its attendants. The thesis is divided into five chapters which explore the affective communities to which English Protestants of the period and region belonged. These communities were concentric and sequential, in that the individual Protestant might pass between all of them depending upon their devotional practice. Chapter One examines personal religious devotion, conducted mostly alone. It demonstrates the unity between feeling and reason in personal experience of God. Chapter Two examines family religion and how it was defined by a meditative affect and engaged in by a broad spectrum of Protestant affiliation. Chapter Three explores public worship and its central role within the devotional economy; being both the affective crescendo of devotional practice and being a source of pious affections. Chapter Four looks at voluntary religious practices, showing how friendship was defined by its devotional nature and how the various religious societies of the period continued to promote an affective religiosity. Chapter Five considers clerical communities and how these were maintained across lines of conformity and also provided significant spiritual succour to the ministers of conformity and nonconformity in the region.

Existem diferentes modos de se ler uma imagem e de interpretá-la. A partir dos gestos realizados pelo artista, podemos conduzir leitura estética, antropológica, cultural ou teológica, encontrando diferentes significados. Realizar a leitura dos gestos tem como objetivo conhecer não apenas as tradições nas quais foram concebidos, mas também a iniciação na prática visionária que os inspirou. Os gestos mais do que descrevem uma história; interpretam-na, dando-lhe um significado mais amplo. Nesta análise escolheu-se o artista Michelangelo Merisi da Caravaggio, tendo como objetivo considerar o simbolismo e a gestualidade existentes em sua produção. A observação da gestualidade nas obras deste artista, principalmente àquelas relacionadas a representação de São Mateus objeto de estudo, buscou implicações em relação ao conjunto compositivo, ao espectador e ao contexto histórico século XVII na Europa. Assim, procurou-se estabelecer para a obra do artista Caravaggio um alicerce na relação gestos/simbolismo, imagem/culto sendo sua compreensão feita a partir de inúmeros fatores visuais que conferem aos quadros caráter de poder e persuasão / There are different ways to view an image and interpret it . From the gestures made by the artist , can lead aesthetic , anthropological , cultural or theological reading , finding different meanings . In reading the gestures aims to know not only the traditions in which they were designed , but also initiation into visionary practice that inspired them . Gestures more than describe a story , interpret it , giving it a broader meaning . In this analysis we chose the artist Michelangelo Merisi da Caravaggio , aiming to consider the symbolism and gestures existing in its production . The observation of gestures in the works by this artist , especially those related to representation of Matthew - the object of study , sought implications in relation to compositional whole, the viewer and the historical context - the seventeenth century in Europe . Thus , we tried to establish for the work of the artist Caravaggio a foundation in relation gestures / symbolism, image / worship your understanding being taken from numerous visual factors which give the character tables of power and persuasion

Made available in DSpace on 2014-06-11T19:26:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-03-09Bitstream added on 2014-06-13T19:26:59Z : No. of bitstreams: 1 lopes_ac_me_assis_parcial.pdf: 63069 bytes, checksum: 1fc50d74046ca3e9b613490ec24ee26c (MD5) Bitstreams deleted on 2015-03-16T11:30:16Z: lopes_ac_me_assis_parcial.pdf,Bitstream added on 2015-03-16T11:31:01Z : No. of bitstreams: 1 000685805.pdf: 570994 bytes, checksum: dce177483fa6ed4f578120ac3d18bd64 (MD5) / Esta dissertação é fruto de uma pesquisa que tem como proposta principal o estudo da metáfora seiscentista em cento e quatro romances atribuídos ao poeta português Antônio da Fonseca Soares. Por se tratar de fonte manuscrita, em primeiro lugar fizemos um trabalho de Crítica Textual, por meio do qual efetuamos a transcrição e a atualização linguística dos poemas analisados de acordo com os critérios de uma edição modernizada. Em seguida, nosso foco centrou-se nos usos, escolhas e construção da metáfora seiscentista no gênero poemático em questão. Para tal, consideramos os manuais de retórica e poética da Antiguidade, especialmente os escritos de Aristóteles e Horácio; a preceptiva poética seiscentista debatida por Emanuele Tesauro e Baltazar Gracián, e os estudos contemporâneos no campo da historiografia literária que versam sobre retórica, as letras do século XVII, e assuntos a ela relacionados. Os resultados da pesquisa demonstram o papel expressivo da mais louvada figura dentre os usos da expressão arguta na retórica seiscentista, aplicada a uma das formas poemáticas mais cultuadas por poetas que praticavam a poesia vulgar desse período / This dissertation results from a master's degree research that has as the main proposal the study of the metaphor of seventeenth century in the one hundred and four romances attributed to the Portuguese poet Antônio da Fonseca Soares. To deal with a manuscript source, we started with a work of Textual Criticism, with which we made the transcription and the ortographic updating of the analyzed poems in agreement with a modernized edition. After that, the focus was centered in the uses, choices and construction of the metaphor of the 17th century in the poems. To analyze the romances, we considered the rhetoric manuals and poetics of Antiquity, especially Aristotle and Horace‟s writings; the poetic rules of seventeenth century debated by Emanuele Tesauro and Baltazar Gracián, and the contemporary studies in the field of the literary historiography about rhetoric, the seventeenth century literature and subjects related. The results of the research demonstrate the expressive function of the most praised rhetoric figure of the seventeenth century in one of the most important poematic form to the vulgar poetry of that period

The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.

Existem diferentes modos de se ler uma imagem e de interpretá-la. A partir dos gestos realizados pelo artista, podemos conduzir leitura estética, antropológica, cultural ou teológica, encontrando diferentes significados. Realizar a leitura dos gestos tem como objetivo conhecer não apenas as tradições nas quais foram concebidos, mas também a iniciação na prática visionária que os inspirou. Os gestos mais do que descrevem uma história; interpretam-na, dando-lhe um significado mais amplo. Nesta análise escolheu-se o artista Michelangelo Merisi da Caravaggio, tendo como objetivo considerar o simbolismo e a gestualidade existentes em sua produção. A observação da gestualidade nas obras deste artista, principalmente àquelas relacionadas a representação de São Mateus objeto de estudo, buscou implicações em relação ao conjunto compositivo, ao espectador e ao contexto histórico século XVII na Europa. Assim, procurou-se estabelecer para a obra do artista Caravaggio um alicerce na relação gestos/simbolismo, imagem/culto sendo sua compreensão feita a partir de inúmeros fatores visuais que conferem aos quadros caráter de poder e persuasão / There are different ways to view an image and interpret it . From the gestures made by the artist , can lead aesthetic , anthropological , cultural or theological reading , finding different meanings . In reading the gestures aims to know not only the traditions in which they were designed , but also initiation into visionary practice that inspired them . Gestures more than describe a story , interpret it , giving it a broader meaning . In this analysis we chose the artist Michelangelo Merisi da Caravaggio , aiming to consider the symbolism and gestures existing in its production . The observation of gestures in the works by this artist , especially those related to representation of Matthew - the object of study , sought implications in relation to compositional whole, the viewer and the historical context - the seventeenth century in Europe . Thus , we tried to establish for the work of the artist Caravaggio a foundation in relation gestures / symbolism, image / worship your understanding being taken from numerous visual factors which give the character tables of power and persuasion

Spanish kings conferred on their viceroys in the Indies the prerogative of extending largesse to subjects. A distinction is often made between rewards accorded to those who merited recognition and to members of the viceroy’s entourage: servants, relatives, and close collaborators who had traveled with them. However, a case study of the Marquis of Montesclaros’ patronage during his administration in Peru reveals the nuances in this dichotomy, among other things, that nepotism involved marriage strategies intended to incorporate selected servants into the local elite. / El ejercicio de la liberalidad era una facultad propia del monarca español que en los territorios indianos se confió a los virreyes por su proximidad con los súbditos residentes en América. Habitualmente, se ha contrapuesto la exigencia de premiar a los beneméritos con las provisiones virreinales a los miembros de sus cohortes, aquellos criados, parientes y allegados que habían viajado con los virreyes a América. Mediante el estudio de caso del poder remunerador del marqués de Montesclaros durante su gobierno peruano, se trata de matizar esta dicotomía mostrando, entre otras cosas, que el nepotismo virreinal incluyó una política matrimonial que tuvo como objetivo la integración de algunos criados en la elite limeña.

This article sheds light on the indirect influence exercised by the Inquisition on the process of beatification of the «servant of God» Nicolas de Ayllon. Through the analysis of his hagiography, written by the Jesuit Bernardo Sartolo, this article will highlight the importance that this literary genre had in the process of establishing his reputation for sanctity. Furthermore, this article examines how the intervention of the Holy Office, which questioned the hagiography and the main witness of the process, Maria Jacinta de Montoya, cast many doubt son the image of the sanctity of Nicolas. The examination led to the discrediting of his reputation as a candidate for sainthood and the suspension of the process. / Este artículo explica la influencia indirecta que la Inquisición ejerció en el proceso de beatificación de Nicolás de Ayllón, el «siervo de Dios». Por medio del análisis de su hagiografía, escrita por el jesuita Bernardo Sartolo, se conocerá la importancia que dicho género tuvo dentro del proceso de consolidación de la fama de santidad de Ayllón. Asimismo, se estudiará cómo la intervención que el Santo Oficio ejerció sobre la hagiografía y la principal testigo del proceso, María Jacinta de Montoya, generó una serie de cuestionamientos en la imagen de santidad de Nicolás, lo cual derivó en un desprestigio a su reputación como candidato a santo y la suspensión del proceso que buscaba exaltarlo a los altares.

Em nossa dissertação de Mestrado analisamos o conjunto de quatro pinturas retabulares encomendadas na década de 40 do século XVII para ornar a capela do hoje extinto Convento dos Capuchinhos da Paciência de Cristo de Madri (1651-1836). Estas pinturas narram a lenda que ficou conhecida como a do Santo Cristo da Paciência ou do Cristo das Injurias, e figuram o ataque de um grupo de pessoas a um crucifixo que, enquanto sofre tal desacato, expressa o seu poder milagroso através da fala e do jorro de sangue. Nosso objetivo foi, por meio da análise dessas pinturas, entender o significado das imagens religiosas para a cristandade espanhola deste período e o quanto os ataques iconoclastas preocupavam os membros da Igreja católica e seus fiéis de modo geral, a ponto de gerar a encomenda de tais obras. Para tal, investigamos este corpus de imagens em dois níveis fundamentais: analisando seus elementos formais e temáticos; e sua relação com o cristianismo a encomenda e o debate sobre as imagens, sobre seus usos e funções nas práticas cultuais do catolicismo na Espanha do século XVII. / In our master dissertation we analyzed the group of four altarpieces commissioned in the 1640s to decorate the chapel of the extinct Capuchin Convent of Patience Christ of Madrid (1651-1836). These paintings ndepict the legend that became known as the Holy Christ of the Patience or Christ of the Injuries, and represent the attack of a group of people to a crucifix which, while suffering such disrespect, expressed his miraculous power through speech and the blood gush. Our aim was, through the analysis of these paintings, to understand the meaning of these religious images for Spanish Christendom in this period and how the iconoclastic attacks were a source of worry for the members of the Catholic Church and the faithful in general so as to generate a commission for such works. For this purpose, we investigated this corpus of images on two fundamental levels: analyzing their formal and thematic elements; and its relation to Christianity - the commission and the debate about images, their uses and functions in cultual practices of Catholicism in seventeenth century Spain.

O presente trabalho propõe uma nova perspectiva ao debate sobre bailes e danças na Espanha do século XVII. Diante das variadas classificações que a bibliografia intenta formular, observa-se uma preocupação em distinguir os dois conceitos. Nesse sentido, os bailes são colocados como descompostos em seus gestos e exercitados por subalternos, enquanto as danças apresentam compostura e são realizadas pelas elites. Entretanto, há divergências entre os autores e contradições em uma mesma classificação, as quais se manifestam de acordo com as fontes utilizadas. Ao analisar as fontes, nota-se que suas formulações sobre tais práticas corporais são construídas a partir de uma moral gestual e por um ideal cortesão. Logo, trata-se de representações elaboradas pela articulação daqueles valores e ideais, e não de uma realidade. Partindo dessas constatações, coloca-se a hipótese de que a maior repressão e depreciação aos bailes, ou a tal conceito, seria uma forma mais eficaz da Igreja controlar e reformar tais práticas, pois os bailes eram realizados pelas distintas ordens sociais e em diversos ambientes, como na própria igreja, além de terem sido os mais representados nos palcos durante o processo da teatralização. / This dissertation thesis proposes to develop a new perspective to the debate on balls and dances in seventeenth-century Spain. Given the various attempts to classify, there is in the up-to-date bibliography a need to distinguish both concepts from each other. Thus, balls are said to be decomposed in its gestures and performed by lower social classes, while dances preserve their composure and is performed by the elites. However, there is a disagreement between authors that contradicts the same classification, as can be seen in different sources used by them. By analyzing the sources, it´s evident that its foundation lies on bodily practices built under a moral gesture and an ideal courtier. Thus, these are representations wrought out from values and ideals, not from a reality. Based on these findings, our hypothesis is that the greater repression and depreciation of balls or similar concepts would be a more effective way that the Church used to control and reform these practices, for the balls were performed by different social orders, to an extent, the church in itself, besides being the first mostly depicted on stage during the process of dramatization.