The Temporary Nature of Health: The Humoral Body in Early Modern Drama explores the ways in which drama, political theory, and travel accounts deploy metaphors and practices generated by the humoral body to provide an account for living in a postlapsarian world. This project's interdisciplinary approach builds on the work of Gail Paster and Valerie Traub and analyzes the ways in which understandings of the body both inflect and are inflected by culture. Chapter one, "'Letting' Blood: The Impossibility of Social Health and Stability in Shakespeare and Cary," focuses on metonyms and metaphors of blood, using both Richard II and Elizabeth Cary's The Tragedy of Mariam. Both plays challenge the notion that blood as bloodline metonymically means character fitness and the ability to rule. Chapter two, "The Failure of Authority: Medical Practitioners and Heads of State in The Winter's Tale, All's Well that Ends Well, and Measure for Measure," argues that these plays' central characters fail as healers in their attempts to find balance and stability for others, usually through the comedic conventional ending of marriage. Chapter three, "Pastoral's Temporary Healing: Elizabethan-Jacobean Comedies, Tragicomedies, and Travel Accounts," uses pastoral dramas such as Mary Wroth's Love's Victorie, John Fletcher's The Faithful Shepherdess, and Shakespeare's As You Like It, as well as travel accounts such as Walter Ralegh's A Discourse Concerning Western Planting. This chapter examines the relationship among pastoral drama, humoral understanding of the body, and travel accounts.

This dissertation addresses the development of the costume book in the rapidly globalising world of the sixteenth century, concentrating on two costume albums produced in the second quarter of the sixteenth century and whose owners and creators shared close ties to the imperial court of Habsburg ruler and Holy Roman Emperor Charles V (r. 1519-56). These richly illustrated albums were among the first known and surviving attempts to make sense of cultural difference by compiling visual information about regional clothing customs in and around Europe and further abroad. Their method of codifying sartorial customs through representative costume figures became a prevailing method through which to examine human difference on an increasingly vast and complex geo-political stage. Yet to have been satisfactorily investigated is the significant role that Habsburg networks and relationships played in shaping these costume albums and their ethnographic interests. The Trachtenbuch, or costume album, of Augsburg portrait medallist Christoph Weiditz (c. 1500-59) is a primary example, constituting a work of keen ethnographic observation which depicts customs and cultures largely witnessed first-hand when the artist travelled to Charles V’s Spanish court in 1529. Of equal interest is the second primary example of this dissertation, the costume album of Christoph von Sternsee (d. 1560) the captain of Charles V’s German Guard. Sternsee’s album, introduced to scholarship for the first time in this study, illustrates diverse cultures and costumes encountered across the imperial Habsburg lands and its neighbours. The emperor’s far-reaching sovereignty propelled Christoph Weiditz and Christoph von Sternsee across the Habsburg lands as they each attempted to benefit their careers and gain prestige from imperial patronage. Their costume albums testify to an empire that encouraged interactions between ambassadors, agents, merchants, military officers, and courtly elite of diverse cultural backgrounds, against a backdrop of shared political, religious, commercial, and military interests. This milieu facilitated the transfer of knowledge and developed methods of visual communication and human representation that were shared and reciprocally recognised.

Submitted by José Inácio Neto (neto_jin@hotmail.com) on 2016-10-27T19:02:17Z No. of bitstreams: 1 DISSERTACAO_MESTRADO_JOSE_INACIO_NETO_UNESP_FRANCA.pdf: 1343798 bytes, checksum: 7cec06d34f34aec7a4e9aa450e192868 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-11-03T17:29:39Z (GMT) No. of bitstreams: 1 inacioneto_j_me_franca.pdf: 1343798 bytes, checksum: 7cec06d34f34aec7a4e9aa450e192868 (MD5) / Made available in DSpace on 2016-11-03T17:29:39Z (GMT). No. of bitstreams: 1 inacioneto_j_me_franca.pdf: 1343798 bytes, checksum: 7cec06d34f34aec7a4e9aa450e192868 (MD5) Previous issue date: 2016-10-26 / Daniel Defoe foi uma figura importante para as transformações literárias que caracterizaram a difusão do romance na Inglaterra setecentista, gênero em formação durante este período. Entre as características de sua obra ficcional, notamos a semelhança com alguns relatos de viagens – como os de Drake, Raleigh, Poyntz, Narborough, Dampier e Rogers – e representações recorrentes do continente americano – territórios nunca visitados pelo autor. Os textos publicados por estes viajantes contêm representações de regiões da América como o Caribe e os litorais ocidentais da América do Sul que, por sua vez, também aparecem como cenários nas obras ficcionais do romancista. Por outro lado, conhecido pelo engajamento político e pela participação nas discussões sobre os rumos da expansão do Império Britânico, o autor também lança mão desta literatura em seus ensaios para sustentar seus argumentos sobre as possibilidades de avanço imperial no Novo Mundo. Partindo de reflexões teóricas importantes para a História Cultural, sobretudo aquelas ligadas às noções de representação e apropriação debatidas por Roger Chartier, a presente pesquisa intenta estabelecer relações entre as obras de ficção de Defoe e os relatos de viagem lidos por ele. Neste sentido, a análise se orientará por alguns questionamentos centrais: como e por que estas representações de domínios coloniais de outros Impérios aparecem na ficção de Defoe? De que maneira estas representações se relacionam com os relatos de viagem que são mencionados pelo autor em suas obras não ficcionais? Em que medida as obras ficcionais do autor apresentam questões pertinentes à expansão do Império Britânico no início do século XVIII? Nosso objetivo principal, portanto, é tentar sustentar a hipótese de que os romances de Defoe contêm representações do Novo Mundo que, em certa medida, foram construídas por meio de apropriações dos relatos de viagem por ele lidos. Ademais, tentaremos perceber de que forma tais representações inserem suas obras de ficção nas discussões sobre as possibilidades de expansão do comércio e da colonização no continente americano. / Daniel Defoe was an important writer for the literary transformations that marked the spread of the novel in eighteenth-century England, genre that was in making during the period. Among the features of his fictional work, we note the similarity with some travel accounts – like those of Drake, Raleigh, Poyntz, Narborough, Dampier and Rogers – and recurring representations of the American continent – territories never visited by the author. The texts published by these travelers contain representations of regions of America as the Caribbean and the western coasts of South America, which, in turn, also appear as scenarios in the fictional works of the novelist. On the other hand, known for political engagement and participation in discussions on the directions of expansion of the British Empire, the author also makes use of this literature in his essays to support his arguments about the possibilities of imperial advance in the New World. Starting from important theoretical reflections for Cultural History, especially those related to the notions of representation and appropriation discussed by Roger Chartier, this research attempts to establish relations between the works of Defoe’s fiction and travel reports read by him. In this sense, the analysis is guided by some central questions: how and why these representations of colonial domains of other empires appear in fiction of Defoe? How these representations are related to the travel accounts that are mentioned by the author in his non-fiction works? To what extent the fictional author’s works have issues related to the expansion of the British Empire in the early eighteenth-century? Our main objective, therefore, is to try to support the hypothesis that Defoe’s novels contain representations of the New World, to some extent, that were built by appropriation of elements found in travel accounts read by him. Furthermore, we will try to understand how such representations insert their works of fiction in discussions about trade expansion possibilities and colonization in the Americas.

Cette thèse établit un corpus de plus de quatre cents voyageurs et auteurs européens, passés ou non par Alep pendant la période ottomane (1516-1918), dont les œuvres évoquant la métropole syrienne relèvent de la littérature de voyage. Centre économique, religieux et culturel, situé à la croisée des routes entre l’Europe, l’Asie et l’Afrique, Alep est un lieu de séjour ou de passage pour de nombreux voyageurs aux motivations diverses. La mise en texte de leur expérience viatique peut prendre des formes variées et subit l’influence des modèles rhétoriques classiques, en particulier celui de l’éloge de la cité à l’origine d’un certain nombre de topoi : la ville est propre et bien bâtie, son air est pur, ses jardins agréables, ses habitants tolérants et raffinés. Ces clichés sont répandus dans le temps, dans l’espace et à travers plusieurs genres littéraires. Leur diffusion est favorisée par les pratiques intertextuelles, mais ils ne sont pas constitutifs d’un regard européen spécifique, les sources orientales orales et écrites intervenant dans la construction du savoir sur la ville. L’originalité d’Alep repose dans la rareté des souvenirs chrétiens, gréco-romains et croisés, qui entraîne une faible fréquentation au XIXe siècle malgré l’importance de la métropole. Ce paradoxe révèle ainsi ce que recherchent principalement les voyageurs européens : eux-mêmes à travers leur propre passé. / The thesis establishes a corpus of more than four hundred European travellers and authors, passed or not through Aleppo during the Ottoman period (1516-1918), whose works evoke the Syrian metropolis within travel literature. As economic, cultural and religious centre located at the crossroads between Europe, Asia and Africa, Aleppo is a place of transit or residence for many travellers coming for different motivations. Their travel accounts can take many forms and are influenced by classical rhetorical models, particularly the praise of the city generating some topoi: the city is clean and well built, its air is pure and its gardens pleasant, the inhabitants are refined and tolerant. These topoi are scattered in time, space as well as in many literary genres. Their diffusion is favoured by the intertextual practices, but they do not reflect a specific European perspective, as Eastern sources – oral and written – take part in constructing knowledge about the city. The originality of Aleppo lies in scarcity of Christian, Greco-Roman and Crusaders recollections, which leads to low presence in the nineteenth century despite the importance of the city. This paradox reveals what European travellers look mainly for: themselves through their own history.

Dans l’essai de ce mémoire, les propositions théoriques de Paul Ricoeur sur la mise en récit seront reliées à celles d’Édouard Glissant quant à l’émergence d’une littérature de la Relation, entendue comme le déploiement poétique d’un imaginaire fondé sur le rapport à l’autre sans crainte de dilution. Mon corpus est composé de trois textes phares de la littérature québécoise, soit les Relations de Jacques Cartier, les Dialogues avec un Sauvage de Lahontan et Volkswagen Blues de Jacques Poulin. Le rapport à l’autre, qui est au cœur de l’intrigue de chacune des œuvres, permettra d’analyser la progression d’une littérature, mais également d’une culture de la Relation au Québec. Dans le roman Vers Sagana, Rose et Yann décident dès leur première rencontre de voyager ensemble alors qu’ils sont tous deux en perte de repères. Dans un contexte de résurgence du processus de dépossession lié à l’histoire américaine depuis l’arrivée des Européens, les voix des personnages s’enchevêtrent pour donner forme à l’obsession d’un enracinement toujours fuyant. / Throughout the essay component of this master’s thesis, Paul Ricoeur’s theoretical approaches regarding the narrative form will be juxtaposed with those of Édouard Glissant regarding the emergence of a « poetics of relation », understood as the poetic deployment of an imaginary realm based on the relation to the other, without fear of dilution. My corpus consists of three key texts in Quebec travel literature: Jacques Cartier’s Relations, Lahontan’s Dialogues avec un Sauvage, and Jacques Poulin’s Volkswagen Blues. The relation to the other, at the heart of the stories in those three texts will permit the analysis of the progress of a literature, but also that of a culture of the Relation in Quebec. In the novel Vers Sagana, Rose and Yann decide upon their first meeting to travel together, while both at loss for reference points. In a context of the resurgence of the dispossession process related to the American history ever since its genesis, the voices of the characters mingle to give shape to the obsession with ever-elusive roots.

This thesis explores the nature of the late medieval European worldview in the context of the thirteenth- and fourteenth-century European journeys to Asia. It aims to determine the precise influence of these journeys on the wider European Weltbild. In lending equal weight to the accounts of the eastward travellers and the sources authored by their counterparts in Europe, who did not travel to Asia, the present study draws together two related strands in medieval historiography: the study of medieval European cosmology and worldview, and the study of medieval travel and travel literature. This thesis treats the journeys as medieval Europe’s interaction with Asia, outlining how travellers formed their perceptions of ‘the East’ through their encounters with Asian people and places. It also explores the transmission of information and ideas from travellers to their European contemporaries, suggesting that the peculiar textual culture of the Middle Ages complicated this process greatly and so minimised the transfer of ‘intact’ perceptions as the travellers originally formed them. The study contends instead that the eastward journeys shaped the late medieval European world picture in a different way, without overturning the concepts that underpinned it. Rather, this thesis argues, thirteenth- and fourteenth-century eastward voyages subtly altered how Europeans were inclined to understand these underpinning concepts. It suggests that the journeys intensified and made the concepts more immediate in Europeans’ minds and that they ‘normalised’ travel itself to the point where it became an essential part of the way Europeans could most readily make sense of the vast and kaleidoscopic world around them.

Les Grandes Découvertes portugaises furent une étape fondamentale dans la rencontre entre Occident et Orient. Bien que l'Orient ne fût pas un territoire totalement inconnu des Européens, la distance et les difficultés que rencontraient les voyageurs occidentaux qui se rendaient en Orient à l'époque médiévale, faisaient des informations qu'ils transmettaient des denrées presque aussi rares et précieuses que les épices ou les étoffes pour lesquelles ils empruntaient la fameuse route de la soie. Le succès retentissant qu'a connu le récit de l'illustre explorateur italien Marco Polo témoigne de l'intérêt que l'Orient suscitait à cette époque. Ce récit marqua les esprits et continua de distiller merveilles et mythes dans l'imaginaire européen jusqu'au début du XVI° siècle. Aussi avant le premier voyage de Vasco de Gama (1497-1498) et malgré les échanges commerciaux de la route de la soie, la connaissance de l'Orient restait très approximative, voire parfois fantaisiste. À la suite de la découverte du chemin maritime vers les Indes, la rencontre des Portugais avec l'Orient permit d'actualiser cette connaissance. Les voyageurs portugais offrirent aux Européens des récits qui rompirent avec la tradition livresque médiévale, en reportant des observations faites in loco et donc plus proches de la réalité orientale. Mais bien que ces voyageurs aient contribué à la démythification de certains mythes associés à l'Orient, l'image de l'Orient que leurs récits transmettaient à leur tour, continua d'être régie par les lois de l'imaginaire. Notre thèse porte sur l'image renaissante de l'Orient et constitue une étude des images et symboles qui furent associés à l'Orient dans cinq récits de voyages portugais du XVI°. Afin de dégager les permanences et les évolutions de cette image, nous nous intéresserons dans un premier temps à l'image de l'Orient de l’Antiquité au Moyen Age, à travers toutes les informations qui circulaient sur ce dernier, de la littérature latine aux récits de voyageurs tels que Marco Polo et Jean de Mandeville, en passant par les débuts de la cartographie. Puis nous nous intéresserons à l'image renaissante de l'Orient à travers l'étude d'un corpus de cinq récits de voyages portugais que nous considérons représentatifs des différents aspects de cette nouvelle vision mythique de l'Orient et qui sont les suivants: Peregrinação de Fernão Mendes Pinto, Algumas coisas sabidas da China de Galiote Pereira, Tratado das Coisas da China de Gaspar da Cruz, Verdadeira Informação das terras do Preste João das Índias de Francisco Álvares et le Livro do Oriente de Duarte Barbosa. / The Portuguese discoveries were an essential step in the meeting between the West and the East. Although the East wasn’t a land completely unknown by the Europeans, the distance and the difficulties that the western travellers who were going to the East during Middle Ages had to face with, made the informations they transmitted goods almost as rare and precious than the spices or fabrics for which they had taken the famous silk road. The significant success of the relation of the renowned Italian explorer Marco Polo demonstrates the interest that the East provoked in these times. This account left a deep impression and continued to spread marvels and myths in the European imagination until the early XVIth century. Before the first travel of Vasco da Gama (1497-1498) and despite the trade of the Silk Road, the knowledge of the East remained approximate, indeed sometimes fanciful. After the discovery of the sea route to the Indies, the meeting of the Portuguese with the East permitted to update this knowledge. The Portuguese travellers offered to the Europeans, accounts that broke with the medieval tradition, reporting observations made in loco and as a consequence closer to the eastern reality. But although these travellers contributed to the demystification of some myths linked to the East, the image of the East they transmitted continued to be ruled by the laws of imagination. Our tesis will talk about the Renaissance’s image of the East and constitute a study of the images and symbols that were associated to the East by five Portuguese travel accounts of the XVIth century. So as to determinate the permanences and the evolutions of this image, we will at first talk about the image of the East from Antiquity to Middle Ages. Then we will talk about the Renaissance’s image of the East by studying five Portuguese travel accounts that we consider representative of different aspects of this new mythical image of the East. This accounts being Peregrinação of Fernão Mendes Pinto, Algumas coisas sabidas da China of Galiote Pereira, the Tratado das Coisas da China of Gaspar da Cruz, the Verdadeira Informação das terras do Preste João das Índias of Francisco Álvares and the Livro do Oriente of Duarte Barbosa.