Con l’edizione commentata di un’opera giovanile di Sforza Pallavicino, il poema inedito e incompleto 'I fasti sacri', si cerca di fornire una ulteriore tessera utile a comprendere e definire le caratteristiche della poetica del circolo barberiniano nella Roma di inizio Seicento. In apertura dell’opera il 'Discorso intorno al seguente poema' raccoglie le dichiarazioni esplicite della poetica del Pallavicino, a partire dalla riflessione di Tasso sul poema; seguono poi sette canti, ognuno dei quali è anticipato e riassunto da un 'Soggetto' in prosa. In essi l’autore, sul modello dei 'Fasti' di Ovidio, rilegge il calendario in chiave cristiana, raccontando le vicende dei principali santi e martiri di ogni mese. La stesura del testo, sotto la supervisione di Papa Urbano VIII, sembra avvicinarsi alle operazioni di revisione del 'Martyrologium Romanum', in particolare all’edizione voluta dallo stesso Urbano nel 1630. L’opera, in stretta sintonia con la 'Poetica sacra' di Giovanni Ciampoli ma che dialoga anche con altri testi del classicismo barberiniano, si propone come alternativa alla poesia avvertita come lasciva e mendace della scuola marinista, in un’opposizione spesso polemica, ma che mostra a volte alcune interessanti consonanze con le opere di Marino stesso e di alcuni esponenti del marinismo moderato. / The commented edition of the unpublished and unfinished poem ‘I fasti sacri’, written by Sforza Pallavicino in the first years of his poetic activity, proposes new interesting information about Barberini’s circle in Rome, at the beginning of XVII century. Explicit definitions on poetic matter are in the ‘Discorso intorno al seguente poema’, with argumentations taken from the theoretical consideration on the epic poem by Tasso. On the model of Ovid’s ‘Fasti’, throughout seven cantos, each one anticipated by a subject in prose, the author covers the Christian calendar narrating the stories of some important saints and martyrs, in the same years of the revision of ‘Martyrologium Romanum’ promoted by the Pope Urban VIII. The poem, extremely close to ‘Poetica sacra’ by Giovanni Ciampoli but also in dialogue with other works of the classicism of Barberini’s circle, proposes itself as an alternative to Marino’s poetry, perceived like lascivious and mendacious. Notwithstanding an often polemic opposition to Secentismo, the text reveals some interesting consonances with Marino’s works, as well as with other authors of the moderate Marinism.

Made available in DSpace on 2016-06-02T20:11:02Z (GMT). No. of bitstreams: 1 5477.pdf: 2572805 bytes, checksum: c4bc4bde3a3f6142a98d3e95b8b95f75 (MD5) Previous issue date: 2013-08-21 / Financiadora de Estudos e Projetos / Graciliano Ramos and Cândido Portinari were friends, but they had something in common that bound most strongly: the desire to express in their works the authentic Brazilian man, the worker and the migrant in their daily lives. This research aims to show how the works of Graciliano and Candido Portinari are close, not only as a social content and theme, but mainly as a form, style and technical resources, as the verbal and visual language are intimately linked as modes of representation. The rapprochement between Graciliano and Cândido Portinari, between the books São Bernardo, Vidas Secas, and the frames Café, Lavrador de café, Retirantes and Criança Morta, aims to demonstrate how the life and work of these artists intersect, in order to represent critically the reality of the time, through a dialectical analysis of form and content, combining text and context in levels of interpretation, according to the hermeneutic proposal of Frederic Jameson in the political unconscious (1982) and the principles of visual semiotics. To achieve this goal, we consider the history of each narrative, structural components, linking them to the historical context of the country at the time. Thus we examine how each represents a social issue: the contradictory reality of Brazil, a country that keeps living archaic modes of production with the arrival of Modernism and Capitalism; antagonistic classes of this society, exploiters and exploited, farmers, migrants, landowners, the government; and alienation/reification that they are submitted, direct consequences of this system. The analyzes are performed with dialectic dialogue, form and content, text and context in reading the social content of his compositions. That is, we analyze how they say what they say about this fundamental aspect of socioeconomic and political organization of the country. Thus, through the analysis we confirm why Graciliano and Portinari are considered realistic and social critics, as such works make use of realism and expressionism as technical resources to bring about awareness of the real and present in the political unconscious subtexts, which allows to conclude from the comparison made that the connection between them, the analogy between literature and painting produced, is stronger and larger than the gap. / Graciliano Ramos e Cândido Portinari, além de amigos, tinham algo em comum que os unia mais fortemente: o desejo de expressar em suas obras o autêntico homem brasileiro, o trabalhador e o retirante no seu cotidiano. Esta pesquisa pretende mostrar como as obras de Graciliano Ramos e Cândido Portinari estão próximas, não apenas enquanto conteúdo social e temático, mas, sobretudo, enquanto forma, recursos técnicos e estilo, pois a linguagem visual e a verbal são intimamente ligadas enquanto modos de representação. A aproximação entre Graciliano Ramos e Cândido Portinari, entre os livros São Bernardo, Vidas Secas, e os quadros Café, Lavrador de café, Retirantes e Criança Morta, tem como objetivo demonstrar como a vida e a obra desses artistas se cruzam, a fim de representar criticamente a realidade da época, através de uma análise dialética entre forma e conteúdo, conjugando texto e contexto em níveis de interpretação, de acordo com a proposta hermenêutica de Frederic Jameson em O inconsciente politico (1982) e os princípios da semiótica visual. Para atingir esse objetivo, consideramos a história de cada narrativa, seus componentes estruturais, ligando-os ao contexto histórico do país na época. Assim examinamos o modo como cada um representa a questão social: a contraditória realidade do Brasil, um país que mantém modos de produção arcaicos vivendo a chegada do Modernismo e do Capitalismo; as classes antagônicas dessa sociedade, exploradores e explorados, lavradores, retirantes, latifundiários, o governo; e a alienação/reificação a que são submetidos, consequências diretas desse sistema. As análises são realizadas de maneira dialética, dialogando forma e conteúdo, texto e contexto, na leitura do conteúdo social das suas composições. Ou seja, analisamos como dizem o que dizem, sobre esse aspecto fundamental da organização socioeconômica e política do país. Assim, através das análises confirmamos porque Graciliano e Portinari são considerados realistas críticos e sociais, como tais obras fazem uso do realismo e do expressionismo como recursos técnicos para trazer à tona a consciência do real e o inconsciente político presente nos subtextos, o que se permite concluir da comparação efetuada, que a aproximação entre eles, a analogia entre a literatura e a pintura que produziram, é mais forte e maior que o distanciamento.

This dissertation questions the dominant role that analogies to painting have played in the critical reception of the Italian madrigal—especially its flagship technique, the madrigalism—and argues for a more historically sensitive approach to sixteenth-century discussions of music–text relations in that genre. This approach centers rhetoric, understood broadly to encompass theories of style and subject matter, emotional response, and fictional representation, as the primary field of study to which musicians turned in their efforts to theorize musical expression. In its final chapter, the dissertation suggests that this rhetorical saturation of discourse around madrigals also to some degree influenced the composing of madrigals. Chapter 1 traces the outlines of what I call the “Galileian critical tradition” between the publication of Vincenzo Galilei’s 1581 "Dialogo della musica antica, et ella moderna" and the present. This tradition is characterized by a tendency among writers to dismiss the madrigalism on expressive grounds and, as time passes, increasingly in visual terms. Returning to the sixteenth century, chapter 2 argues that the phrase “imitating the words” (imitare le parole), which was adopted by Galilei, Gioseffo Zarlino, and others in the mid- to late Cinquecento to describe those novel techniques for the musical representation of text commonly seen in madrigals, acquires an affective connotation, in addition to its descriptive meaning, when placed in the context of contemporaneous literary studies of imitation (mimesis), especially those stemming from the recovery of Aristotle’s "Poetics." This affective dimension of the imitation principle, first theorized by Aristotle but creatively elaborated by his Renaissance commentators, highlights the cognitive pleasure that humans, because of a natural affinity for imitation, take from fiction—a species of pleasure, I suggest, relevant to the musical practice that “imitating the words” names. Turning from pleasure to passion, chapter 3 makes a case for the presence of a “two-stage model for emotional arousal” (as I call it) in sixteenth-century Italian music theory. Surveying this model’s foundation in physiological, rhetorical, and natural-philosophical texts, I show how Zarlino adapted its principles to musical purposes in his 1558 "Istitutioni harmoniche" and then trace the afterlife of Zarlino’s theory across a number of texts, including both music theory treatises and an epic poem. Chapter 4, finally, analyzes a late Cinquecento madrigal cycle—the three settings in Giaches de Wert’s "Ottavo libro de madrigali a cinque voci" (1586) from the “Armida” episode of Torquato Tasso’s "Gerusalemme liberata" (1581)—as a series of musical “stimuli” for listener responses patterned on the theoretical discussions studied in chapters 2 and 3. In its attention to the close-knit relationship between the expressive qualities of Wert’s music and the emotions they invite, this chapter follows the example of the ancient rhetorical tradition and its sixteenth-century inheritance, which emphasize the role of human psychology in determining the orator’s art.

[pt] Como me tornei Clarice divide-se em três partes. A primeira parte se intitulada Cansaço e se constitui de contos que reconstituem o final da vida de seis autores de literatura brasileira. A saber: Clarice Lispector, Ana Cristina Cesar, Paulo Leminski, Torquato Neto, Caio Fernando Abreu e Hilda Hilst. Misturando elementos ficcionais com biográficos, os contos almejam elaborar um jogo narrativo em que os fatos possam ser tomados pela ficção. A segunda parte se constitui do par de contos Latejos e Enxame. Neles, a voz que narra revela um escritor que passava seus dias se sentindo só em meio ao caos urbano (Latejos) que decide, então, promover fisicamente a imagem do isolamento ao se mudar para um sítio rural a fim de cultivar abelhas (Enxame). A terceira e última parte, que dá título à dissertação, é o ensaio autobiográfico Como me tornei Clarice, que dá sequência às partes ficcionais I e II explicita o processo de composição dos contos de Cansaço bem como busca demonstrar o estado de perturbação necessário para a escrita do homem de trinta anos resistindo à ânsia de seu próprio fim elaborado em Latejos e aprofundado em Enxame. / [en] How I Became Clarice is divided in three sections. The first, Tiredness, is made up of six short stories that re-create the last moments of the lives of six Brazilian authors: Clarice Lispector, Ana Cristina Cesar, Paulo Leminski, Torquato Neto, Caio Fernando Abreu, and Hilda Hilst. These stories combine biographical information and fictional elements in a narrative game where the reader cannot tell fact from fiction. The second section includes two stories, Throb and Swarm, narrated by a writer who spends his lonely days immersed in urban chaos (Throb) and decides to physically promote the image of isolation by leaving the city to live in the country, working as a beekeeper (Swarm). The third and last section, which has the same title as the thesis, How I Became Clarice, is an autobiographical essay; sections I and II deal with the process of creating the short stories of Tiredness and also show the state of mental disorder that allows the thirty-year-old author depicted in Throb and Swarm to write even as he resists his own death drive.

Made available in DSpace on 2016-04-28T18:23:45Z (GMT). No. of bitstreams: 1 Wander Marques Vieira.pdf: 365765 bytes, checksum: c55c0e41b245a722c00a793495aa131c (MD5) Previous issue date: 2008-05-09 / Secretaria da Educação do Estado de São Paulo / Opinion articles have an important symbolic function of, seemingly, sharing the paper s opinion by covertly bolstering up the assertion that the other sections, conversely, are pure facts or reports . Once signed, they not necessarily represent the paper ideological stance (O Estado de São Paulo); however, Kitis & Miliapes (1996) claim that by being in it, they allow the readership to invest them with the same authority and reliability ascribed to the newspaper. In so being, we can use for the opinion article the very same Fowler s words (1991), when he claims that what distinguishes an editorial is not the expression of values and beliefs, but the textual strategies being used to stand out the speech acts of values and beliefs . This work analyses Gaudêncio Torquato s articles, published on a weekly basis, in O Estado de São Paulo, from the viewpoint of the Critical Linguistics , which proposes that analysis using appropriate linguistic tools, and referring to relevant historical and social contexts, can bring ideology, normally hidden through habitualization of discourse, to surface for inspection , Fowler (1991: 89). While the focus of the traditional analysis discourse is on the meanings established between sentences and utterances, in CDA the focus is on the selections which are made in constructing texts, on factors that constrain and determine these selections, and on their effect. According to Charteris-Black (2004), metaphor is one of these conscious linguistic choices that conceals underlying social processes, and metaphor analysis can aid in the identification of implicit textual content, and metaphor constitutes verbal evidence for an underlying system of ideas or ideology . Kress & Hodge (1993: 15) propose that ideology involves a systematically organized presentation of reality . With this is mind, the authors claim that metaphor is vital in creating such a presentation of reality. Stemming from a corpus of five opinion articles, the aim of this research is, by means of a metaphor-based study, to understand the functioning of this linguistic resource. It is through metaphor that the author expresses his attitudinal position on x the country s political developments, and manages at the same time to directly avoid threatening the face of the people involved, send out his message and persuade his readership. In my analysis, I resort basically to the Systemic-Functional Linguistics (Halliday, 1985; 1994), and its contributors, the Relevance Theory (Sperber & Wilson (1986; 1995), the Goatly s notions (1997) and the developments the theories have been receiving. According to Eggins (1994), what differentiates the SFL is that it seeks to develop a theory of language as a social process and a methodology which allows detailed and systematic description of linguistic patterns. The SFL is considered the more suitable theory-methodological approach to Critical Discourse Analysis (Fowler, 1991); Fairclough, 1992). On the other hand, Charteris-Black (2004) and Fairclough (1999a) analyse metaphor based on Halliday s Functional Linguistics (1985; 1994) / Os artigos de opinião têm uma função simbólica importante, parecendo partilhar da opinião do jornal, ao sustentar implicitamente a asserção de que as demais seções, por contraste, sejam puros fatos ou reportagens . Como são assinados, não necessariamente representam a posição ideológica do jornal (O Estado de São Paulo); contudo, o simples fato de estarem nele, permite aos leitores investi-los com a mesma autoridade e credibilidade que se atribui ao jornal, notam Kitis & Milapides (1996). Assim, podemos utilizar para o artigo de opinião as mesmas palavras de Fowler (1991), quando ele diz que, o que distingue o editorial não é a oferta de valores e crenças, mas o emprego de estratégias textuais que salientam o ato de fala de oferta de valores e crenças . A presente dissertação analisa os artigos de Gaudêncio Torquato, publicados dominicalmente no jornal O Estado de São Paulo, do ponto de vista da Lingüística Crítica , que propõe que a análise, usando instrumentos lingüísticos próprios e com referência a contextos históricos e sociais relevantes, pode trazer a ideologia, normalmente escondida através da habitualização do discurso, à superfície para inspeção (Fowler, 1991: 89). Enquanto o foco da análise do discurso tradicional está nos significados estabelecidos entre sentenças e enunciados, na Análise Crítica, o foco está na seleção que é feita na construção dos textos e em fatores que restringem e determinam essas escolhas e em seu efeito. Segundo Charteris-Black (2004), a metáfora é uma dessas escolhas lingüísticas conscientes que esconde processos sociais subjacentes, e a análise da metáfora pode ajudar a identificar o conteúdo textual implícito, uma vez que ela se manifesta como evidência verbal para um sistema subjacente de idéia ou ideologia . Kress & Hodge (1993: 15) propõem que a ideologia envolve uma apresentação sistematicamente organizada da realidade . Com isso em mente, os autores afirmam que a metáfora é vital na criação dessa apresentação da realidade. Partindo de um corpus constituído por cinco artigos de opinião, o objetivo desta viii pesquisa é, por meio de estudo apoiado na metáfora, compreender o funcionamento desse recurso lingüístico. É através da metáfora que o autor expressa seu posicionamento atitudinal em relação aos acontecimentos políticos do País, conseguindo assim, ao mesmo tempo em que evita ameaçar diretamente a face da(s) pessoa(s) envolvida(s), envia sua mensagem e persuade seu leitor. Em minha análise, recorro basicamente à Lingüística Sistêmico-Funcional (LSF), de Halliday (1985; 1994) e seus colaboradores, à Teoria da Relevância, de Sperber & Wilson, (1986, 1995), e às noções de Goatly (1997), bem como às ampliações e contribuições que as teorias têm recebido. O que distingue a LSF, segundo Eggins (1994), é que ela procura desenvolver uma teoria sobre a língua como um processo social e uma metodologia que permite descrição detalhada e sistemática dos padrões lingüísticos. A LSF tem sido considerada como a abordagem teóricometodológica mais adequada à Análise Crítica do Discurso (Fowler, 1991; Fairclough, 1992). Por outro lado, Charteris-Black (2004) e Fairclough (1999a) analisam a metáfora com base na Lingüística Funcional de Halliday (1985; 1994)

Made available in DSpace on 2016-04-27T19:30:19Z (GMT). No. of bitstreams: 1 Valeria Aparecida Alves.pdf: 11158129 bytes, checksum: 197fdc3394b6120655436bb40ebb7714 (MD5) Previous issue date: 2011-06-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of study of this research has singled out Torquato de Araújo Neto, who experienced political, economical, and cultural transformations in the late 1950 s and the early 1970 s. He participated actively in the tropicalism movement in music and in the marginal or underground movie production. He also used the press, a privileged medium, to debate and explicit the context in which he was living. From the analysis of Torquato Neto s life s path and discourse, this work aimed at problematizing the Brazilian cultural production during the period of authoritarianism and at discussing the proposals for a renewed Brazilian popular music, the debate among artists and intellectuals, and the various forms of resistance. The research was carried out using the following sources of information: song lyrics, three newspaper columns - Música Popular, published in the Sports newspaper in 1967, Plug, published in Correio da Manhã in 1970, and Geléia Geral, published in Última Hora also in 1970. Other sources were letters, notes, poems, and images about the tropicalism movement found on record covers, in O Estado de São Paulo, Folha de São Paulo and Folha da Tarde newspapers, and in Veja magazine. Videos which registered the stage performance of the movement participants were also used. It is possible to conclude that, during the period of time when increasing measures were taken to curtail freedoms and to repress, a number of artists and intellectuals resisted that arbitrariness and protested against the established order, using the defense that Creating is resisting. They marginally produced, searched for alternative spaces and a new aesthetic language. They displayed anarchic behavior in relation to political and cultural order. They revendicated freedom in every aspect of life, and Torquato Neto was the spokesman of this defense movement / A pesquisa ora apresentada privilegiou como objeto de estudo Torquato de Araújo Neto. Sujeito que vivenciou as transformações políticas, econômicas e culturais ocorridas entre o final dos anos 50 e início da década de 1970. Participante ativo do tropicalismo musical e da produção do cinema marginal ou underground, ocupou espaço privilegiado a imprensa para debater e explicitar o contexto vivido. Buscou-se a partir da análise da trajetória e discurso de Torquato Neto, problematizar a produção cultural brasileira durante o período de vigência do autoritarismo e discutir as propostas de renovação para a Música Popular Brasileira, o debate entre artistas e intelectuais e as diversas formas de resistência. As fontes utilizadas para o desenvolvimento da pesquisa foram: as letras das canções, as colunas Música Popular , publicada no jornal dos Sports, no ano de 1967, Plug , no Correio da Manhã e Geléia Geral , no jornal Última Hora, ambos na década de 1970, além de cartas, anotações e poemas, as imagens produzidas sobre o movimento tropicalista, encontradas nas capas dos discos, nas fotos publicadas na imprensa, nos jornais O Estado de São Paulo, Folha de São Paulo e Folha da Tarde e na revista Veja, além dos vídeos que registraram a performance de seus integrantes nos palcos. Através desta pesquisa, conclui-se que durante o período de ampliação das medidas de cerceamento das liberdades e repressão, uma parcela de artistas e intelectuais resistiu ao arbítrio e protestou contra a ordem estabelecida, assumindo a defesa de que Criar é resistir . Produziram à margem, buscaram espaços alternativos e uma nova linguagem estética. Assumiram uma postura anárquica em relação à ordem política e cultural. Reivindicavam liberdade, em todos os sentidos, e Torquato Neto foi porta-voz dessa defesa

Made available in DSpace on 2016-06-02T19:39:15Z (GMT). No. of bitstreams: 1 3269.pdf: 22639026 bytes, checksum: 085f23e26f92e86598152d42d8e37f3f (MD5) Previous issue date: 2010-08-30 / This Project starts from an observation and a questioning: why haven t Cândido Portinari s works - greatest Brazilian painter and born in the state of São Paulo -, been taken into account by the Curricular Proposal of the State of São Paulo regarding the Arts teaching books, in particular the visual ones? Doesn t his work have any importance for the country? Don t the elaborators of the mentioned proposal know him? From the analysis of this material, a research has been done with the survey of bibliographies about the painter that could reveal his life, not only the one already known of the general public, but the one that could serve as a basis to teachers that teach art in public schools of the state of São Paulo. Through this investigation, we try to show someone worried about his people, an educator made by the image and a man formed by the observation of his work. The first chapter reveals us Portinari s formation, his family, religiosity, his involvement with Communism, his friends, his stay in Europe, his moving to Rio and his occasional trips to Brodósqui; besides the awards received, his escape of school and the greatness of his work. The second chapter shows the reader all the educational features of this painter, his concerns about the future of education in the country and mainly about the simple man who has been building this nation and not revealed by our old masters. Which man does Portinari show in his works? The third chapter compares and analyzes contemporaneous artists works taken into account by the Curricular Proposal of the State of São Paulo. It inquires about the presence of these education icons and reflects/questions Cândido Portinari s absence. / O presente trabalho parte de uma observação e de um questionamento: por que as obras de Cândido Portinari, maior pintor brasileiro e paulista de nascimento, não foram contemplados pela Proposta Curricular do Estado de São Paulo no que diz respeito ao caderno de ensino da disciplina de Arte, em particular as visuais? Será que seu trabalho não tem qualquer importância para o país? Os elaboradores da referida Proposta não o conhecem? A partir da análise deste material, deu-se início um trabalho de pesquisa com levantamentos de bibliografias sobre o pintor que pudessem revelar sua vida, não apenas a que já era conhecida pelo grande público, mas sim aquela que pudesse servir de base aos professores que lecionam Artes nas Escolas Públicas do Estado de São Paulo. Através desta investigação, tentamos mostrar um Portinari preocupado com seu povo, um educador que se fazia pela imagem e um homem que seria formado pela observação de sua obra. O primeiro capítulo revela-nos a formação de Portinari, sua família, a religiosidade, o comunismo, os amigos, sua estada na Europa, sua ida ao Rio de Janeiro e o retorno em algumas ocasiões a Brodósqui. Além dos prêmios recebidos, a fuga da escola e a grandiosidade de sua obra. O segundo capítulo apresenta ao leitor todo o caráter educativo deste pintor, suas preocupações com o futuro da educação no país e principalmente com o homem simples que construiu e constrói esta nação e não revelado pelos mestres trazidos por Dom João VI. Um olhar sobre o homem apresentado por Portinari em seus trabalhos. O terceiro capítulo compara e analisa as obras de artistas contemporâneos contempladas pela Proposta Curricular do Estado de São Paulo. Indaga sobre a presença destes ícones da educação e faz uma reflexão/questionamento sobre a ausência de Candido Portinari.

If we consider the representation of the body in the epic-romances of Torquato Tasso, Philip Sidney, and Edmund Spenser, certain instances of wounding and laceration emerge as crucial turning points in the development of their respective narratives: Clorinda’s redemptive mutilation, Parthenia’s blood-drenched pallor, Amavia’s disquieting suicide, Venus’s insatiable orifice, Amoret’s “perfect hole.” This thesis affords a detailed comparative study of such passages, contending that the wound assumed a critical metaphoric dimension in sixteenth-century epic-romance literature, particularly in relation to the perceived association between body condition and erotic desire. Along with its function as a marker of martial valor and somatic sacredness, the wound, I argue, increasingly is designated in these epic-romances as an interiorizing apparatus, one liable to accrue at any instance into a surplus of unanticipated meaning. As such, the wound becomes an emblem in these texts of what I call the phenomenology of desire—the equation of consummation and loss—as well as the aesthetic and metaphoric mechanism by which these writers seek to overcome it. The four chapters of this thesis constitute individual but cumulative points of response to the problem of thinking about desire as a type of wound. For Tasso, a wound poses a challenge to physical, psychological, and spiritual integrity, but its remarkable capacity for aestheticization also allows Tasso to envision it as a synthesizer of sacred and erotic affects. For Sidney, the prospect that a wound could define a body as courageous or pathetic, as sacred or corrupt, became both politically and socially troubling, and the New Arcadia, I argue, proleptically attempts to defend Sidney against interpretations of wounds that register them as manifestations of corrupt desire. For Spenser, body fracture and erotic wounding are analogic (indeed, almost indistinguishable), and The Faerie Queene investigates the prospect that confusing these analogies can become an empowering, even revelatory experience. In each of these epic-romances, a wound serves both a literal and a figurative function and, in this way, is established as the foremost image by which these writers imagine strength and mutilation, affect and heroism, epic and romance as being inextricably bound.

La tesi propone uno studio monografico sul fiorentino Giovan Battista Strozzi il Giovane detto il Cieco (1551-1634), letterato e animatore di circoli culturali dalla Firenze medicea alla Roma barberiniana, attraverso la Milano borromaica e i cenacoli capitolini degli Aldobrandini e degli Umoristi. Nel primo dei tre capitoli che scandiscono la ricerca si è appuntata l’attenzione sulla partecipazione del Giovane alle attività di due vivaci consessi della sua città natale: l’Accademia Fiorentina e l’Accademia degli Alterati. Nel secondo è stata condotta una disamina dell’opera in versi – per la maggior parte ancora inedita – che comprende decine di epistole metriche in endecasillabi sciolti, un incompiuto poema in onore di Amerigo Vespucci, nonché un ricco corpus di madrigali, la cui stesura, nell’esperienza del Cieco, procedette di conserva con la speculazione teorica intorno alla nuova fisionomia cinquecentesca di questo antico genere lirico. La terza sezione si concentra invece sul contributo dello Strozzi alle discussioni di poetica (la ‘Commedia’ dantesca, il poema eroico, le unità aristoteliche) che accesero gli ambienti letterari italiani nella seconda metà del secolo XVI. Affiancando l’esegesi dei testi alla ricostruzione biografica – condotta su un ampio numero di documenti epistolari editi e inediti –, si è cercato di restituire il giusto spessore storico a ciascuno degli scritti presi in esame, ricostruendo i differenti contesti culturali in cui furono composti e scandagliando la fitta trama di relazioni – umane e letterarie – che si profila sullo sfondo di essi. Completano il lavoro una bibliografia delle opere antiche e moderne, un indice dei manoscritti e un indice dei nomi di persona. / The thesis proposes a monographic study on the Florentine Giovan Battista Strozzi the Younger also known as the Blind (1551-1634). He was a writer with connections in cultural circles across Renaissance Italy, including Medici’s Florence, Barberini’s Rome, Borromean Milan and the Roman cenacles of the Aldobrandini and the Humorists. The thesis consists of three chapters. The first chapter focuses on the participation of Strozzi the Younger in the activities of two lively groups in his hometown: the Florentine Academy and the Alterati Academy. The second chapter discusses his poetical works – for the most part still unpublished –, including dozens of versified epistles in loose hendecasyllables, an unfinished poem in honor of Amerigo Vespucci, as well as a rich corpus of madrigals. The drafting of this last corpus proceeded together with Strozzi the Younger’s theoretical speculation around the new sixteenth-century appearance of this ancient lyrical genre. The third section considers the contribution of Strozzi the Younger to the discussions on poetics (Dante’s ‘Comedy’, the heroic poem, the Aristotelian units) that went on in Italian literary circles in the second half of the sixteenth century. In this work, we aimed to restore the appropriate historical depth to each of the writings examined, through the exegesis of texts combined with the biographical reconstruction conducted on a large number of published and unpublished epistolary documents. We also tried to reconstruct the different cultural contexts in which these writings were composed and attempted to analyze the dense network of relationships, both human and literary, that loomed in the background. The thesis is completed by a bibliography of ancient and modern works, an index of manuscripts and an index of names.

In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.” My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings. / A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.