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1
Truxell, Timothy Carlton. "Corporate Chivalry in Malory's "Morte d'Arthur": Chivalric Guidebooks and a Fifteenth-Century Chivalric Ideal." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625743.
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Munoz, Victoria Marie. "A Tempestuous Romance: Chivalry, Literature, and Anglo-Spanish Politics, 1578-1624." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1479905568694913.
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Gutierrez, Trapaga Daniel. "Transtextuality in sixteenth-century Castilian romances of chivalry : rewritings, sequels, and cycles." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709212.
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Parnell, Jessica L. "Medieval authors shaping their world through the literature of courtesy and courtly love /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2000. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2000.Source: Masters Abstracts International, Volume: 45-06, page: 2824. Typescript. Abstract precedes thesis title page as [2] preliminary leaves. Copy 2 in Main Collection. Includes bibliographical references (leaves 93-96).
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Ip, Sui-lin Stella, and 葉瑞蓮. "Novels of chivalrous women in the magazine Saturday." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B44569683.
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Shearn, Jodi Growitz. "CHIVALRY THROUGH A WOMAN'S PEN: BEATRIZ BERNAL AND HER CRISTALIÁN DE ESPAÑA: A TRANSCRIPTION AND STUDY." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/189839.
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SpanishPh.D.
This doctoral dissertation is a paleographic transcription of a Spanish chivalric romance written by Beatriz Bernal in 1545. Cristalián de España, as the text is referred to, was printed twice in its full book form, four parts and 304 folios. It was also well-received outside of the Iberian Peninsula, and published twice in its Italian translation. This incunabulum is quite a contribution to the chivalric genre for many reasons. It is not only well-written and highly entertaining, but it is the only known Castilian romance of its kind written by a woman. This detail cannot be over-emphasized. Chivalric tales have been enjoyed for centuries and throughout many different mediums. Readers and listeners alike had been enjoying these romances years before the libros de caballerías reached the height of their popularity in Spain. Hundreds of contributions to the genre are still in print today and available in numerous translations. Given this reality, it seems highly suspect that this romance, penned by a woman, and of excellent quality, is not found on the shelves next to other texts of the genre. Cristalián, despite what scholars of the genre have erroneously posited, was not an obscure text in sixteenth-century Spain. Bookstore and print-shop inventories of its time list numerous copies of Bernal's romance in bound book form, which confirm that Cristalián was circulating for at least sixty years. The purpose of this dissertation is two-fold. In order for Cristalián to be included in conversations of any nature, it must be made available. This transcription of Book I and II seeks to accomplish that. Secondly, current scholarship must re-imagine erroneous constructions of sixteenth-century reader's preferences. These prevalent constructions have often excluded noteworthy contributions to literature, especially those written by women. My aim is to redress this imbalance by analyzing Beatriz Bernal's written text and her writing strategies. The first three sections of the accompanying study more thoroughly address the challenges facing women writers in sixteenth-century Spain while also considering issues of literacy, reader preferences, and text distribution of the period. The last sections of the study are devoted specifically to the chivalric genre, and to Bernal's exemplary romance, Cristalián de España. Also included in the appendix are woodcuts from both Castilian editions, the proemio from the second edition, the chapter rubrics from Book I and II, and an index of characters from the narration.
Temple University--Theses
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Mynott, Glen David. "Man in his native noblesse? : chivalry and the politics of the nobility in the tragedies of George Chapman." Thesis, University of Warwick, 1995. http://wrap.warwick.ac.uk/57872/.
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In this thesis I argue that the three plays under consideration - Bussy D'Anbois, The Conspiracy and Tragedy of Charles Duke of Byron, and The Revenge of Bussy D'Ambois - illustrate Chapman's concern with the role of chivalry in England following the debacle of the Essex Rebel lion in 1601. My contention is that, for Chapman, the Essex Rebellion exposed the fragility and the inconsistencies of Elizabethan chivalry and the political threat represented by its preoccupation with martial values. I suggest that in his plays, Chapman sets out to deconstruct the myth of chivalry by exposing it as a romantic concept which is used by the martial nobility as a means of Emphasizing their political rights. The values of chivalry - prowess, honour, loyalty, generosity, courtesy and independence - are shown, by the plays, to be incompatible with the political ambitions of the nobility. By associating themselves with this mythical concept of chivalry, political figures cane to identify their factions with the values of chivalry. Chapman, I argue, shows haw the myth is established and then exposes it for what it is, by portraying his characters as unable to live up to their expected mythical ideals. Chivalry is stripped of its mythical trappings and exposed as militaristic, aggressive and politically motivated. The thesis is divided into five chapters. In the first, I consider Chapman alongside the Tacitean historians who were connected with the Essex circle in the 1590s and show how, in The Conspiracy and Tragedy of Charles Duke of Byron, the dramatist transformed the providentialist narrative of his source into a play with Tacitean connotations, emphasizing the relationship between chivalry and constitutional political theory. In the second chapter I consider Chapman's interest in chivalry and discuss generally the romantic concept of Elizabethan chivalry and its relationship with the political concerns of the nobility. In Chapters Three to Five I discuss Chapman's portrayal of chivalry and its political impliications.
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Somogyi, Ashley Clara Gabrielle. "Young Knights of the Empire : the impact of chivalry on literature and propaganda of the First World War." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12603/.
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The re-emergence of chivalry in the mid-eighteenth century fundamentally altered Britain’s perception of etiquette, duty, masculinity and the ideology surrounding war. This thesis demonstrates the importance and influence of chivalry’s persistence before, during and after World War One. By examining the formative role of chivalry in education and literature in the nineteenth century, we see how it becomes encoded in British culture, contributing not simply to a romanticised idea of war, but becoming an inextricable part of British identity. While many scholars would argue against the continued use or popularity of chivalry during WWI, condemning its role in glamourising conflict, this work demonstrates how organisations such as the War Propaganda Bureau, the Boy Scouts and the public school system strove to encourage the citizens of war-time Britain to adopt the central tenets of chivalry (honour, bravery and self- sacrifice), declaring them crucial to morale and victory. This work evidences how chivalry did not simply survive WWI but by altering the vocabulary and images associated with it, adapted to the demands of Britain’s wartime and post-war environment. Through critical analysis of literature ranging from poetry and plays to pamphlets and meeting minutes, this thesis demonstrates how the central tenets of chivalry are not only ingrained in the British response to war, but helped to provide moral justification of violence, created brotherhood between soldiers, engendered solidarity on the Home Front, and provided an ethical framework through which combatants and non-combatants could understand the need for war. World War One did not destroy chivalry; rather it was refashioned to make a historicizing connection to a legacy of heroism which continues in modern British nationalism, duty and morality.
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Hubbard, Taylor L. "The Failure of Chivalry, Courtesy, and Knighthood Post-WWI as Represented in David Jones’s In Parenthesis." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3904.
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This thesis analyzes David Jones’s In Parenthesis to demonstrate the failed notion of chivalry, courtesy, and knighthood in modernity during and after the war. Jones’s semi-autobiographical prose poem recounting his experiences of WWI was published in 1937, nineteen years after the war ended. Jones applied the concepts of chivalry, courtesy, and knighthood to his experiences during WWI through In Parenthesis. Jones used these concepts, which originated in the classical period and the Middle Ages, to demonstrate how they have changed over time, especially given the events of WWI. The best way for Jones to demonstrate the impact of WWI was to use the medieval ideas of knighthood (which were arguably idealized up until the war) to describe how the modern world could no longer be identified with those ideals.
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Durrer, Rebecca A. (Rebecca Ann). "Knightly Gentlemen: Sir Arthur Conan Doyle and His Historical Novels." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500933/.
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This thesis analyzes Sir Arthur Conan Doyle's contribution to the revival of chivalric ideals in late Victorian England. The primary sources of this study are Doyle's historical novels and the secondary sources address the different aspects of the revival of the chivalric ideals. The first two chapters introduce Doyle's historical novels, and the final four chapters define the revival, the class and gender issues surrounding the revival, and the illustration of these in Doyle's novels. The conclusion of the thesis asserts that Doyle supported the revival of chivalric ideals, and the revival attempted to maintain, in the late nineteenth century, the traditional class and gender structure of the Middle Ages.
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CARDOSO, Maria Inês Pinheiro. "Cavalaria e picaresca no romance D' A Pedra do Reino de Ariano Suassuna." Universidade de São Paulo, 2010. http://www.repositorio.ufc.br/handle/riufc/19551.
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CARDOSO, Maria Inês Pinheiro. Cavalaria e picaresca no romance D' A Pedra do Reino de Ariano Suassuna. 2010. 547f. Tese (Doutorado) - Universidade de São Paulo, Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas, São Paulo, 2010.Submitted by anizia almeida (aniziaalmeida80@gmail.com) on 2016-09-09T12:17:58Z No. of bitstreams: 1 2010_tese_mipcardoso.pdf: 3562395 bytes, checksum: 030144ce6a8af7214aab818446c7f935 (MD5)
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The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.
O propósito deste trabalho é mostrar que na concepção do Romance d'A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência d'A Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor.
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Romero, Nanci. "Edição da crônica de Dom Duardos (segunda e terceira partes)." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-21082012-123606/.
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O objetivo principal desta tese foi editar a segunda e a terceira partes da Crônica de Dom Duardos, escrita por Dom Gonçalo Coutinho no final do século XVI ou início do XVII, completando o trabalho iniciado por Raúl Cesar Gouveia Fernandes, que, em sua tese defendida em 2006, editara a primeira parte desse livro de cavalarias inédito. Dividimos o trabalho em três volumes: o primeiro contém a apresentação da obra, do autor e da edição; o segundo e terceiro volumes trazem, respectivamente, a segunda e terceira partes da Crônica de Dom Duardos.The main objective of this thesis was to edit the second and third parts of the Crônica de Dom Duardos, written by Don Gonçalo Coutinho in the late sixteenth or early seventeenth centuries, completing the work begun by Raúl Cesar Gouveia Fernandes, who, in his thesis defended in 2006, edited the first part of this unpublished book of chivalry. We divided the work into three volumes: the first contains the presentation of the work, the author and edition, the second and third volumes bring, respectively, the second and third parts of the Crônica de Dom Duardos.
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McInnis, Jeff. "Shadows and chivalry : pain, suffering, evil and goodness in the works of George MacDonald and C.S. Lewis." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2881.
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This thesis argues that George MacDonald's literary influence upon C. S. Lewis-concerning the themes of pain, suffering, evil and goodness-was transforming and long-lasting. It is argued in the opening chapter that MacDonald's work had a great deal to do with the change in young Lewis's imagination, helping to convert him from a romantic doubter to a romantic believer in God and his goodness. A review of both writers' first works suggests that such influence may have begun earlier in Lewis's career than has been noticed. The second chapter examines how both authors contended with the problems that pain and suffering present, and how both understood and presented the nature of faith. Differences in their treatment of these subjects are noted, but it is argued that these views and depictions share fundamental elements, and that MacDonald's direct influence can be demonstrated in particular cases. The view that MacDonald was primarily a champion of feelings is challenged, as is the idea that either man's later writing displays a loss of faith in God and his goodness. The third chapter, in specifically refuting the assertion that MacDonald's view of evil was inclusive in the Jungian or dualistic sense, shows how both authors' work maintains an unmistakable distinction between evil fortune and moral evil. The next two chapters examine fundamental similarities in their treatment of evil and goodness. Special care is taken in these two chapters to trace MacDonald's direct influence, especially regarding the differences they believed existed between hell's Pride and what they believed God to be. The fifth chapter reviews their ideas and depictions of heaven in summing up the study's argument concerning the overall influence of MacDonald's writing upon Lewis's imagination-in particular the change in Lewis's understanding of the relations between Spirits, Nature, and God.
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Jefferies, Diana Catherine. "Sir Thomas Malory's Tale of the Sangreal and the Justification of Violence." University of Sydney, 2009. http://hdl.handle.net/2123/5131.
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Doctor of PhilosophyThis thesis argues that the sixth book of Sir Thomas Malory’s Morte Darthur, the Tale of the Sangreal, introduces a new idea of chivalry to the knights of the Round Table and challenges them to reform how violence is justified in Arthurian society at the fundamental level. The central issue revolves around the knight’s intentions as they are confronted with situations of violence. In the Grail quest, each knight must demonstrate that he uses his knightly skills for the benefit of the community, not for his own purposes. By contrasting how knights justify violence in terms of Arthurian ideals, which privileges the use of violence for individual gain, with how knights justify violence in terms of Christian ideals, which privileges the use of violence to protect the community, this thesis demonstrates why Arthurian civilization collapsed as civil war engulfed the kingdom. Furthermore, the thesis shows how the Sangreal interacts with the rest of the Morte Darthur. It asks the knights to give up their worldly pretensions to honour and courtly privilege, and to reform their lives radically to comply with Christian ideals. This is achieved as the Grail journeys of the three Grail knights, Perceval, Bors, and Galahad, and the journey of Lancelot are examined closely, producing the spiritual biography of the knights. To demonstrate how far Arthurian civilization had moved from Christian ideals, the final chapter scrutinizes Arthur’s estrangement from God in the early years of his reign. These investigations make it evident that the Sangreal acts as a mirror for the Morte Darthur, proposing a better way of being within the chivalric world by closely analyzing the justification of violence within that world. This demonstrates that the collapse of Arthurian civilization is unavoidable.
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Cardoso, Maria Inês Pinheiro. "Cavalaria e picaresca no romance D\' A Pedra do Reino de Ariano Suassuna." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-16062011-132209/.
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O propósito deste trabalho é mostrar que na concepção do Romance d A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência dA Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor.The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.
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Tribit, Anthony. "Making Knighthood: The Construction of Masculinity in the Ordene de chevalerie, the Livre de chevalerie de Geoffroi de Charny and the Espejo de verdadera nobleza." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23142.
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This dissertation applies the concept of hegemonic masculinity. as first proposed by R.W Connell in her book Masculinities, to three works of medieval chivalric conduct literature. This dissertation asserts that the authors of the Ordene de chevalerie, the Livre de chevalerie of Geoffroi de Charny and the Espejo de verdadera nobleza create an image of knightly masculinity that demonstrates its superiority over other forms of medieval masculinity. At the same time, each text serves a secondary purpose; in elucidating the values and political aims of its author. The Ordene de chevalerie demonstrates the hegemonic nature of knighthood by means of its frame story while at the same time trying to show how the knighthood is intimately linked to the Christian faith by means of the ritual of initiation into the knighthood. The Livre de chevalerie provides guidance on how to obtain honor and prowess, while at the same showing how the knighthood is superior to the clerical class, another powerful mode of medieval masculinity. The Espejo de verdadera nobleza demonstrates that the hegemonic form of masculinity embodied in the knighthood was open to those who showed the necessary characteristics and won the approval of the sovereign. The Espejo acts as means of institutionalizing the knighthood and shows the first imaginings of how the knighthood would change with the advent of the Renaissance.
By using a theoretical framework more common to the fields of sociology and management studies to explore these texts, this dissertation demonstrates how theories that are accepted in these fields may be applied to literary and medieval studies. This dissertation also seeks to bring greater attention to the genre of chivalric conduct literature, a genre that does not receive as much attention from scholars as other medieval genres such as epic and romance. This dissertation seeks to show that chivalric conduct literature is a fruitful field of study and that these three lesser known works in this genre provide valuable medieval perspectives on the concepts of knightly masculinity. Although these authors define knighthood differently, they all agree that knighthood plays a defining role in constructing and modeling a superior form of masculinity.
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Elias, John Marcel Robert. "The emotional rhetoric of the later Crusades : romance in England after 1291." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/267731.
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This thesis offers an assessment of late medieval public response to the crusades through an investigation of emotional rhetoric in the Middle English crusading romances. It argues that the prevailing climate after the fall of Acre in 1291 and the evacuation of the last Christian strongholds in the Levant was characterized by a mixture of enduring enthusiasm and fascination, but also of concern, anxiety, and self-questioning, engendered by the enterprise's failures. The loss of the Holy Land had enduring repercussions on Christian crusading mindsets, marking a culminating point in Islam's seemingly relentless victories in wars believed to be ordained by God, and the collapse of Christendom's ambitions to secure lasting dominion over Christ's patrimony. The late thirteenth century was also a turning point in the history of insular romance, with the progressive displacement of Anglo Norman by Middle English, expanding the genre's audience. Reworking the emotional depictions of their sources, authors or adaptors of late medieval English crusading romances engaged with, and elicited reflection on, the cultural anxieties of the time: man's relation to God, the workings of divine providence, Christianity's ascendency over Islam, human agency, the connection between morality and fortune, the bearing of motives on actions, and the moral limitations of violence.
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Binkley, Maddison R. "Beyond the Beheading Game: Gender Fluidity and its Functions in Sir Gawain and the Green Knight." University of Toledo Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1544716765807434.
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Hinds, Constance. "Ford Madox Ford's Good Soldier in a Modern World." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/80.
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Ford often wrote about virtuous gentlemen ruined by the modern society he saw developing around him. While Ford Madox Ford was writing The Good Soldier, ther was a sense of displacement in England and the class system was starting to crumble. Edward Ashburnham, one of the two male protagonists in The Good Soldier, is described as a Chevalier Bayard and there are definitely some similarities between Ashburnham and Bayard. For instance, both men lived during periods of great societal change and both faithfully served their countries. However, the feudal lifestyle that was appropriate for Bayard in the fifteenth-century is unavailable to Ashburnham in the twentieth-century. In The Good Soldier, Ford used the old ideals of chivalry and courtly love codes to produce a character, Edward Ashburnham, who represents the loss of traditional values in a modern society.
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Fritts, David C. "The Warrior Gets Married: Constructing the Masculine Hero in Beowulf and Chr¿¿¿¿tien de Troyes’ Erec et Enide." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1339690252.
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Fonseca, Josevânia Souza de Jesus. "Antônio José da Silva e o labirinto da mística judaica : religiosidade e resistência na literatura cristã-nova no inicio do século XVIII." Pós-Graduação em História, 2014. https://ri.ufs.br/handle/riufs/5646.
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The work that the reader now has in hand corresponds to a story about the Sephardic culture that spread after the Atlantic Diaspora in the 15th century. He was drafted from the yarn left by Antônio José da Silva, nicknamed "the Jew", in four of his operas, Vida de D. Quixote de La Mancha, Esopaida, ou Vida de Esopo, Os Encantos de Medéia e Anfitrião, ou Júpiter, e Alcmena, presented between 1733 and 1736 at the Teatro do Bairro Alto in Lisbon. The operas are in tune comedies that bring, between the lines, marks the time when the French lived, as well as the previous temporalities stays, mixed to established models of literature and mythology. Through them, the author suggests his dissatisfaction with society in which was inserted, by means of the criticism of the Inquisition, to justice, to customs and, especially, to religion, leaving evidence of cryptic religiosity subtext practiced by Jewish cabalists. The
objective of this work is to analyze the escamoteados cabalistic aspects in these texts, because we understand that they are constituent part of the worldview of the new Christians judaizers. To this end, resorted to the categories of analysis of the Cultural history, making use of changes in scales of observation, indicting and method of comparison of elements present in the texts with the more general aspects of law and Jewish mysticism. The research reveals that, in addition to the primary intention of the comedies of the Jew, to laugh at the Lisbon society through satire of customs and institutions, there is a message of resistance directed to new Christians judaizers. The research is structured in three chapters: Antônio José da Silva: um Cavaleiro Andante na Lisboa do Século XVIII; A Religião da Cavalaria Andante; e Os Recônditos Arcanos da Cavalaria Andante. In the first chapter, we sought to relate the character Don Quixote to the figure of the knights errant Kabbalists, as well as introduce
customs and references to Jewish mystical elements present in the Opera Vida de D. Quixote de La Mancha, the first comedy of the harvest of the Jew. The second chapter reflects on the Religion of the Cavalry Andante in allusion to the "law of Moses", as she was known the cryptic form practiced religiosity by new Christians, constantly identified in inquisitorial documents and, consequently, in the literature of centuries of prohibition of Jewish worship. Finally, Os Recônditos Arcanos da Cavalaria Andante which made an interpretation of evidence identified in the operas in the light of Jewish mysticism, still little explored aspect of Sephardic culture.O trabalho que o leitor agora tem em mãos corresponde a uma história sobre a cultura sefardita que se difundiu após a Diáspora Atlântica no século XV. Ele foi elaborado a partir dos fios deixados por Antônio José da Silva, cognominado O Judeu , em quatro de suas óperas, Vida de D. Quixote de La Mancha, Esopaida, ou Vida de Esopo, Os Encantos de Medéia e Anfitrião, ou Júpiter, e Alcmena, apresentadas entre os anos de 1733 e 1736 no Teatro do Bairro Alto em Lisboa. As óperas são comédias musicadas que trazem, nas entrelinhas, as marcas do tempo em que o comediógrafo viveu, bem como as permanências de temporalidades anteriores, misturadas aos modelos já consagrados da literatura e da mitologia. Através delas, o autor deixa transparecer sua insatisfação com a sociedade em que estava inserido, por meio das críticas à inquisição, à justiça, aos costumes e, especialmente, à religião, deixando subentendidos indícios de uma religiosidade críptica praticada pelos judeus cabalistas. O objetivo do trabalho é analisar os aspectos cabalísticos escamoteados nesses textos, por entender que eles são parte constituinte da cosmovisão dos cristãos-novos judaizantes. Para tal, recorreu-se às categorias de análise da História Cultural, fazendo uso da variação de escalas de observação, do método indiciário e da comparação dos elementos presentes nos textos com os aspectos mais gerais da lei e da mística judaica. Desvenda-se com a pesquisa que, para além da intenção primordial das comédias do Judeu, de fazer rir à sociedade lisboeta através da sátira dos costumes e das instituições, existe uma mensagem de resistência direcionada aos cristãos-novos judaizantes. A pesquisa está estruturada em três capítulos: Antônio José da Silva: um Cavaleiro Andante na Lisboa do Século XVIII; A Religião da Cavalaria Andante; e Os Recônditos Arcanos da Cavalaria Andante. No primeiro capítulo, buscou-se relacionar o personagem D. Quixote à figura dos cavaleiros andantes cabalistas, assim como apresentar costumes e referências a elementos da mística judaica presentes na ópera Vida de D. Quixote de La Mancha, primeira comédia da seara do Judeu. O segundo capítulo reflete sobre a Religião da Cavalaria Andante em alusão à Lei de Moisés , como era conhecida a religiosidade praticada de forma críptica pelos cristãos-novos, constantemente identificada nos documentos inquisitoriais e, consequentemente, na literatura dos séculos de proibição do culto judaico. Por fim, Os Recônditos Arcanos da Cavalaria Andante no qual se fez uma interpretação de indícios identificados nas óperas à luz do misticismo judaico, aspecto ainda pouco explorado da cultura dos sefarditas.
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Gabriel, Schenk. "A type of king : the figure of Arthur in mid-nineteenth to mid-twentieth century literature." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6c284cea-e72c-49b0-ba87-29cf7b960ba9.
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This thesis analyses the figure of Arthur, in a period spanning the mid-nineteenth to mid-twentieth centuries, when that figure became increasingly protean and multifaceted, and the audience for the Arthurian legend grew in both size and variety. It argues that many authors wrote through Arthur, as well as about Arthur, using the figure to understand and test their own ideas about ideals (e.g. of manliness, kingship, or heroism) as well as problems (such as war, despotism, or ungodliness). This thesis analyses Arthur by considering him as a 'type', using a definition of the term that highlights a paradox: a type, in a scientific sense, is both perfect (an exemplary model) and normal (common enough to be representative). When applied to Arthur, it means that he is both a perfect, or near perfect, example, but is also to some extent a 'normal' human being. Different authors analysed in this thesis emphasise different aspects of the figure, according to whether they focus on Arthur's perfection or his normality. Other meanings of the word 'type' are also applied when relevant: the idea is not to force all versions of Arthur into a single or definitive category, but to retain the complexity of how Arthur is characterised and written about in texts. The ultimate aim of this thesis is to put the figure of Arthur into critical focus, and explain why he has been returned to so often in history.
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Lee, Alison. "Thomas Malory and fifteenth-century chivalric literature." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302930.
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Roussillon, Marine. "Plaisir et Pouvoir. Usages des récits chevaleresques à l'âge classique." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030055.
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En montrant la présence d’un imaginaire médiéval dans la production littéraire des années 1600-1750 et en étudiant ses usages, cette thèse rend visible la construction d’un imaginaire moderne et galant utilisé pour susciter l’adhésion au pouvoir, en particulier dans le cadre d’une redéfinition de la noblesse.L’étude d’une fête de cour et d’un traité historique présente d’abord les enjeux politiques de la mise en récits du passé médiéval : il s’agit de figurer les origines et les valeurs de la monarchie. La deuxième partie étudie la construction narrative du passé médiéval à partir du corpus des récits chevaleresques, tel qu’il a été constitué par les pratiques éditoriales et critiques depuis la fin du Moyen Âge. Le recensement des récits chevaleresques tout au long de l’âge classique et l’étude chronologique de ce corpus, de ses métamorphoses et de ses dynamiques, fait apparaître la deuxième moitié du XVIIe siècle comme une période charnière.Les trois parties suivantes reviennent sur cette période à partir d’études de cas (la production d’un imprimeur, un traité des tournois, des épopées chrétiennes…) associant l’analyse textuelle, l’étude d’images et la construction de contextes. Elles montrent comment une interprétation moderne de la tradition chevaleresque a été construite par les milieux lettrés (dans les années 1640 et 1650), puis appropriée par le pouvoir dans le cadre de la politique de la gloire (1664-1674), avant d’étudier son devenir à la fin du siècle dans les genres nouveaux de l’opéra et du conte de fées. Pour finir, un épilogue met en perspective les récits chevaleresques avec d’autres textes figurant les valeurs de la noblesse et ses relations avec le roiBy demonstrating the presence of medieval imagery in the literary production of 1600-1750, andstudying how this trope is employed, this thesis reveals the construction of a modern, gallant ideology,used to incite belief in and support for political power, especially through a redefinition of nobility.The initial study of a courtly festival and an historical treatise sets out the political questions raised by this storytelling about the medieval past: namely, a representation of the origins and the values of the monarchy.The second section studies the narrative construction of this medieval past, beginning from thecorpus of chivalric tales, as constituted by editors and critics since the late Middle Ages. An analysis of chivalric tales throughout the classical period, and the chronological study of this corpus, its metamorphoses and its dynamic, reveal the second half of the XVIIth century as a pivotal moment.The following three sections return to this period with a series of case studies (the production of a printer, a tournament treatise, Christian epics etc), combining close textual analysis, the study of images and contextualisation. They show how a modern interpretation of the chivalric tradition was first constructed by the literary world (in the 1640s and 1650s) then appropriated by political power to support its politics of glory (1664-1674), before moving on to study its fate at the end of the century, in the new genres of opera and fairy tales. To conclude, an epilogue puts chivalric tales into context alongside other texts representing the values of the nobility and its relationship with the king
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Duggett, Thomas J. E. "Wordsworth's Gothic politics : a study of the poetry and prose, 1794-1814." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/361.
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Hammer, Aubrey Lea. "A Gentlemen's Benevolence: Symptoms of Class, Gender, and Social Change in Emma, Nicholas Nickleby, and The Mill on the Floss." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/957.
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Austen, Dickens, and Eliot each responded to discussions of their time concerning class, gender, and social change. One of the ways they addressed these issues, and sought to find solutions to the problems facing their culture, was through benevolence. Knightley, in Emma, uses benevolence as a means of mediating self-interest and sympathy. By acting out of sympathy, through benevolence, he achieves the self-interested benefits of reinforcing the class system and achieving his romantic conquests. Likewise, Dickens' Nicholas Nickleby learns how to use benevolence as a means of social mobility from his mentors, the Cheerybles. Throughout Nicholas Nickleby the hero learns how to engage in benevolence out of sympathy, and by doing so he establishes himself as a gentleman and reaps social, economic, and romantic advantages. Eliot's Bob Jakin in The Mill on the Floss engages in benevolence out of true sympathy unhindered by self-interest. His freedom from social constraint and self-interest allows him to truly help Maggie Tulliver when no one else can. These authors' depictions of benevolence all illuminate ways that nineteenth-century literary authors sought to navigate the “Adam Smith Problem" of sympathy vs. self-interest. Benevolence, in these novels, is not disinterested (regardless of their motivation) but is influenced by the character's and author's perception of class, gender, and social change in the nineteenth century.
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Wallace, James R. "Taking Eudora Welty's Text Out of the Closet: Delta Wedding's George Fairchild and the Queering of Saint George." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-07172009-110754/.
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Thesis (M.A.)--Georgia State University, 2009.Title from file title page. Pearl Amelia McHaney, committee chair; Calvin Thomas, Thomas McHaney committee members. Description based on contents viewed Nov. 12, 2009. Includes bibliographical references (p. 79-82).
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Withers, Jeremy. "The Ecology of War in Late Medieval Chivalric Culture." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1215570638.
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Thomas, A. "The Czech chivalric romances 'Vevoda Arnost' and 'Lavryn' in their literary context." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233352.
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Murdock, Mark Cammeron. "In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters)." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.
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This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order.
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López, Avilés Agustín. "Palladine of England (1588) Translated by Anthony Munday." Doctoral thesis, Universidad de Alicante, 2017. http://hdl.handle.net/10045/73030.
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Edición crítica en inglés de Palladine of England, libro de caballerías traducido al inglés por Anthony Munday en 1588 a través de su versión francesa L'Histoire Palladienne, de 1555. El libro original, ibérico y de autor anónimo, que Claude Colet tradujo al francés, es Don Florando de Inglaterra (1545). Esta edición crítica proporciona una introducción a la época, género y prácticas traductológicas de Munday; un seguimiento histórico de la obra, descripción bibliográfica, transcripción y edición del texto original con notas eruditas; y glosario, emendaciones y un apéndice de notas traductológicas.
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Torres, Josà William Craveiro. "AlÃm da cruz e da espada : acerca dos resÃduos clÃssicos d'a demanda do Santo Graal." Universidade Federal do CearÃ, 2010. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11702.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorO presente trabalho tem como principais objetivos apontar os trechos de teor clÃssico presentes n' A Demanda do Santo Graal (ediÃÃo portuguesa), novela de cavalaria da primeira metade do sÃculo XIII, e explicar o porquà de excertos dessa natureza no Ãmbito da obra literÃria em questÃo. Procura, ainda, mostrar de que modo a Idade MÃdia realiza uma retomada de valores da AntigÃidade clÃssica; sobretudo no que concerne à postura do cavaleiro medieval: chegou-se à conclusÃo de que este tinha o herÃi que se movimenta nas epopÃias e nos mitos greco-romanos como ideal de bravura, de virtude e de lealdade, bem como à de que o imaginÃrio deste (ou âcriado em torno desteâ) era praticamente o mesmo daquele, por conta da semelhanÃa existente entre os contextos histÃrico-literÃrios em que surgiram ambos. A teoria que serve de base para a realizaÃÃo deste trabalho à a da Residualidade, elaborada por Roberto Pontes, crÃtico, ensaÃsta e professor da graduaÃÃo e do programa de pÃs-graduaÃÃo em Letras da Universidade Federal do Cearà â UFC. Durante a pesquisa, os conceitos de imaginÃrio e residual, propostos, respectivamente, pela Ãcole des Annales e por Raymond Williams, crÃtico literÃrio de orientaÃÃo marxista, fazem-se tambÃm presentes. No que concerne à metodologia, deve-se dizer que a pesquisa foi realizada, basicamente, por meio da leitura de clÃssicos da Literatura das antigas GrÃcia e Roma (IlÃada e OdissÃia, de Homero; Eneida, de VirgÃlio; e Metamorfoses, de OvÃdio) e de novelas de cavalaria portuguesas (Amadis de Gaula e, principalmente, A Demanda do Santo Graal), bem como por meio da Literatura Comparada, visto que houve um trabalho de confronto entre esses textos. Por fim, esta investigaÃÃo mostra-se relevante à comunidade acadÃmica porque aborda, numa novela tipicamente medieval e cristà (estamos falando d‟A Demanda do Santo Graal), um importante aspecto das novelas de cavalaria: o clÃssico, tÃo negligenciado pela maioria dos estudiosos que se debruÃam sobre as novelas do ciclo bretÃo.
The present work has as main objective to point the passages of classic content presented in the medieval novel A Demanda do Santo Graal (portuguese edition of The Quest for the Holy Grail), a novel about chivalry of the first half of the thirteenth century, in order to explain the reason why exist these passages in the novel in question. Another objective is to show how the Middle Ages realize a retaking of values of classical Antiquity. especially with regard to the attitude of the medieval knight: this was the greek hero (or roman hero) as the ideal of bravery, virtue and loyalty; the imaginary of medieval cavalier (or "the imaginary created around of the medieval knight") was practically the same imaginary of greek hero (or roman hero), because of the similarity between the historical and literary context in which they both arose. The theory that underpins this work is the Teoria da Residualidade, created by Robe1to Pontes, critic, essayist and professor of Literature of the Universidade Federal doo Cearà - UFC. During the research, the concepts of imaginary and residual, proposed respectively by the Ãcole des Annales and Raymond Williams, a marxist literary critic, are also present. With regard to the methodology, it must be said that the research was conducted, at first, through readings of classics of the ancient Literature (Homer's Iliand and Odyssey, Vergil's Aeneid and Ovid's Metamorphoses) and portuguese novels about chivalry (Amadis de Gaula and, especially, A Demanda do Santo Graal) and through comparative literature, since there was a work of comparison between these texts. Finally, this research is relevant to the academic community because in mentions, in a medieval and christian novel (A Demanda do Santo Graal), an important aspect of the novels about chivalry: the classic, so much neglected by most scholars which deal with the novels of the breton cycle.
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Putter, Ad. "Narrative technique and chivalric ethos in Sir Gawain and the Green Knight and the Old French roman courtois." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259478.
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Patel, Rena. ""The Double Sorwe of Troilus": Experimentation of the Chivalric and Tragic Genres in Chaucer and Shakespeare." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1281.
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The tumulus tale of Troilus and his lover Cressida has left readers intrigued in renditions written by both Geoffrey Chaucer and William Shakespeare due to their subversive nature of the authors’ chosen generic forms. Chaucer’s Troilus and Criseyde challenges the expectations and limitations of the narrative of the chivalric romance. Shakespeare took the story and turned Troilus and Cressida into one of his famous “problem plays” by challenging his audience’s expectations of the tragic genre. I endeavor to draw attention to the ways in which both Chaucer and Shakespeare use the conventions of the chivalric romance and tragedy to play with the imbalances in the central relationship of Troilus and Criseyde/Cressida in the story. These imbalances are the source of experimentation in both texts that allows Chaucer to imbue tragedy in the chivalric romance and allow Shakespeare to undermine tragedy itself.
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Lima, Leonila Maria Murinelly. "O Amadis de Gaula entre as fendas de dois códigos: o da cavalaria (O Livro da Ordem de Cavalaria de Ramon Llull) e o do amor cortês (Tratado do Amor Cortês de André Capelão)." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4249.
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A partir dos pressupostos teóricos dos pesquisadores da Nova História e dos estudos literários do comparativismo, este trabalho analisa o Amadis de Gaula entre os dois códigos: o da cavalaria de Ramon Llull expressão do ideal cristão do cavaleiro virtuoso e perfeito , e o do amor cortês, de André Capelão, que expressa os ensinamentos do refinado amor cortesão, dentro de uma ética feudo-vassálica. Entre os interstícios desses códigos e numa Península Ibérica marcada por uma ascese cristã, erige uma história de amor que se constitui num paradigma da expressão do desejo carnal e da busca do re(encontro) com o feminino. É na via oposta ao contexto peninsular da Reconquista ibérica que se efetua a caminhada de Amadis rumo à perfeição amorosa ao encontro do AmorThe theoretical presuppositions of the researchers of the New History and the literary studies of comparativism are the starting point of this paper to analyze the Amadis de Gaula between the two codes: the chivalry by Ramon Llull the expression of the christian ideal of the virtuous and perfect knight , and the courteous love, by André Capelão, the schooling of the refined courteous love, inserted in a feud-vassal ethics. A love story is put up between the gaps of these codes in an Iberian Peninsula encarved by a christian ascese. It is compounded in an instance of the carnal desire and the search for the (re)encounter with the feminine. It is in the opposite way to the peninsular context of the Iberian Reconquest that Amadis enhances his way towards the loving perfection to meet Love
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Capuano, Mariângela Monsores Furtado. "Ressonâncias de heróis e reis medievais na (re)construção dos personagens da Pedra do Reino por Ariano Suassuna." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7591.
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A presente tese está calcada na análise da obra de Ariano Suassuna, o Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta, considerado pelo autor como a sua obra maior e, a princípio, o primeiro volume da trilogia A maravilhosa desaventura de Quaderna, o decifrador, e no primeiro volume da segunda parte da trilogia, O rei degolado ao Sol da Onça Caetana. O trabalho consiste, fundamentalmente, em examinar o diálogo estabelecido entre a obra de Suassuna com textos representativos da tradição literária ocidental, mais propriamente com os que remontam ao medievo. Para isso, fez-se um recorte nas relações que o romance trava com a matéria cavaleiresca, principalmente com a Demanda do Santo Graal, na sua estrutura e no desenho psicológico e moral dos personagens, notadamente de Sinésio, que encarna o mito do herói prometido, cujos paradigmas se assentam na figura lendária do Rei Artur, além de Galaaz, e na histórica de D. Sebastião, o rei desaparecido de Portugal. Sabe-se que esses reis e heróis míticos, considerados salvadores, uma vez que retornariam para restituir ao povo a dignidade e a liberdade perdidas, povoaram o imaginário ibérico e chegaram ao Brasil trazidos pelos colonizadores europeus. Dessa forma, a cultura popular do Nordeste brasileiro é povoada de histórias e lendas eternizadas e recriadas no folclore da região e na literatura de Cordel. Mas, ao lado do messianismo, outro aspecto faz-se notório nos personagens de Suassuna: a crueldade. E este tema, bem como o nome do personagem D. Pedro Dinis Quaderna, remete-nos para a história de alguns reis ibéricos da Idade Média: Pedro de Portugal e Pedro de Castela, que serão revisitados à luz da Crônica de D. Pedro de Fernão Lopes, no intuito de observar-se o diálogo com esta estabelecido por Suassuna, direta ou indiretamenteThis doctoral thesis (Brazilian format for Dissertation) dwells on an analysis of the novel A Pedra do Reino e o Príncipe do Sangue do Vai-e-Volta by Ariano Suassuna, considered his greatest work and the first installment of the trilogy A maravilhosa desaventura de Quaderna, o decifrador, being the second part of that trilogy O Rei Degolado ao Sol da Onça Caetana. This research consists essentially in examining the dialogue established among Suassunas work and texts representing western literary tradition more properly concerning the medieval period. A selection of relations found in that novel concerning chivalry was then chosen, more specifically concerning the Quest for the Holy Grail (Demanda do Santo Graal) in its structure and in the psychological and moral design of the characters, especially Sinésio, who embodies the myth of the promised hero, whose paradigms regard the legendary figure of King Arthur, in addition to Galahad, and in King Sebastians historical figure, the King of Portugal who went missing. It is well-known that these mythical kings and heroes, considered saviors, wound once return to restitute people with their lost dignity and freedom, being part of the imaginary world in Iberia. They were brought to Brazil by European colonizers. Thus, the popular culture in Northeastern Brazil is filled with stories and legends rendered eternal and recreated in their regional folklore, as well as in the Cordel Literature (a popular form of literature in the region). Yet, aside from its messianic trait, another aspect is notable in Suassunas characters: cruelty. This theme, as well as the name of the character D. Pedro Dinis Quaderna, leads us to the story of certain Iberian Kings from the Middle Ages: Pedro of Portugal and Pedro of Castile, later revisited in the Crônica de D. Pedro by Fernão Lopes, aiming to observe the dialogue, directly or indirectly, with Suassunas writing
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Silva, Pedro Sette Câmara e. "Ler e usar a literatura: alguns artifícios para o envolvimento do leitor." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9309.
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Nesta dissertação investigamos como a ficção envolve o leitor. Para isso, partimos da rejeição a Homero declarada por Calímaco, observando que a suposta diferença entre a literatura preferida pelo público e a literatura preferida pela crítica depende de dois fatores distintos. O primeiro é o simples fato de a crítica ler profissionalmente e o público ler por prazer. O segundo está relacionado à distinção entre recepção e uso da literatura proposta por C.S. Lewis. Na recepção, a obra tende a ser admirada por si; no uso, tende a ser instrumentalizada como suporte para um devaneio em que os desejos do próprio leitor são vicariamente satisfeitos. Observamos que essa devaneio, que Lewis chama de construção egoísta de castelos, e que inclui uma variante mórbida, tem um paralelo na noção girardiana do duplo angélico. Contudo, o devaneio depende da simpatia como definida por Adam Smith, a qual por sua vez depende de certa aprovação moral. Investigamos portanto o tipo de personagem que conquista a aprovação moral do leitor, contrastando os heróis homéricos com os cavaleiros cristãos a fim de verificar como o cristianismo dirige a aprovação moral para as vítimas, fazendo com que os heróis da ficção sejam pessoas perseguidas ou marginalizadas.In this dissertation we investigate how fiction involves the reader. Starting Callimachuss rejection of Homer, we note that the supposed diference between the literature favoured by the public at large and the literature preferred by critics is actually twofold. First, critics read for business and the public reads for pleasure. Second, as proposed by C.S. Lewis, there is a distinction between the reception and use of literature. In reception, a work tends to be admired in itself, whereas in use it becomes a mere support for a sort of daydreaming in which the readers own desires are vicariously satisfied. We discuss this daydreaming called egotistic castle-building by Lewis, highlighting its morbid variant, which finds a parallel in the Girardian notion of the angelic double, developed from a reading of Proust. Now, as egotistic castle-building in its turn depends on sympathy as defined by Adam Smith, a concept which includes moral approval, we investigate the types of characters who obtain the moral approval of readers, contrasting the warriors from Homers poems with Christian knights in order to show that Christianity directs moral approval towards the victims. In a Christian society, fictional heroes must be people who are persecuted or at least marginalised.
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Bureaux, Guillaume. "Union et désunion de la noblesse en parade. Le rôle des Pas d'armes dans l'entretien des rivalités chevaleresques entre cours princières occidentales, XVe-XVIe siècles (Anjou, Bourgogne, France, Saint-Empire)." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR142/document.
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Apparus en 1428 en Espagne, le Pas d’armes est un parfait exemple de l’indéniable intérêt porté par la noblesse, de la fin du Moyen Âge et du début de la Renaissance, aux arts martiaux, littéraires et théâtraux. Il s’agit, en réalité, d’une évolution de la joute et du tournoi au cours duquel un ou plusieurs chevaliers est volontaire pour garder un carrefour, une porte ou tout autre lieux symbolique. Pour différencier ces exercices des joutes, les organisateurs publient des chapitres, ou lettres d’armes, plusieurs mois en avance. Ils sont souvent constitués de deux parties, la première venant placer les chevaliers assaillants et défenseurs dans un univers magique et fantastique, le seconde présentant les règles du jeu. Notons également que la majeure partie des Pas plonge les chevaliers dans un monde fictionnel, en particulier inspire de la légende arthurienne, grâce aux chapitres, aux décors et, naturellement, aux costumes. Témoignages des contacts transculturels existent entre les cours d’Anjou et de Bourgogne avec celles d’Espagne, les Pas d’armes sont organisés à des moments décisifs pour les cours, qu’il s’agisse de mariages, de traités de paix ou d’un temps d’après-guerre ; et tous remplissent un rôle commun : mettre en lumière l’unité chevaleresque autour du Prince et de son pouvoir. Invariablement, c’est le Prince qui sort vainqueur des événements qui ont lieux au sein de sa cour. Il s’agit essentiellement pour le prince de mettre en scène son pouvoir dans ce « jeu-mimique » où l’important n’est pas tant le combat que le spectacle et la mise en lumière du pouvoir princier, tant culturel, financier que militaireAppearing in 1428 in Spain, the Pas d’Armes are a real example of the undeniable interest held by the nobility of the end of the Middle Ages and the beginning of the Renaissance in the arts of warfare, in literature, and theater. It is in reality an evolution of the joust and tournament in which one or several knights volunteer to keep a crossroad, a door or another symbolic place. To differ from the joust, the organizers publish chapters, or letters of weapons, several months in advance. They consisted of two parts, the first one coming to place the knights defenders and aggressors in a magic and fantastic universe, the second containing rules to be followed. It is also necessary to note that the great majority of Pas place the knights in a fictional world, in particular regarding Arthurian legend, by means of chapters, present scenery around the lists and, naturally, costumes. Testimonies of transcultural contacts between the Valois ‘courts of Anjou and Burgundy and Spanish courts, the Pas d’armes are organized at courtly decisive moments like marriages, treaties of peace or just after a war, all the Pas d’armes had a common role : to highlight the unity of knighthood around the Prince and his power. On each occasion is the Prince who emerges victorious from all the entertainment organized at his court. Essentially, it is a way for the prince to dramatize his power in this “game – mimicry” where the important thing was not so much the fighting but the scenery and the highlighting of cultural, financial and military power of the court
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Alberto, Rodrigo Moraes. "“Histórias fingidas” : admiração e maravilhamento no Amadís de Gaula." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/178172.
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Reflexo de um processo histórico anterior, os romances de cavalaria fazem surgir no final do medievo ibérico uma nova moda literária, que mescla a tradição míticocavaleiresca com as mudanças sociais que caracterizam o movimentado período histórico. Estes libros se configuram durante quase um século como um sucesso de mercado, modelo de experiência máxima da nobreza cavalheiresca em um mundo cujos baluartes mostram-se movediços e sensíveis. Para além de conter uma coleção de mirabilia como objeto, estes romances são dispositivos maravilhantes que têm função e criam significações em um momento de experiência deslocada, num jogo de perspectiva. Sob a história das emoções, este trabalho se propõe a analisar a admiração no mundo ibérico quinhentista a partir da construção do dispositivo de maravilhamento.Reflection from a previous historical process, the chivalric romances do arise at the end of the Iberian medieval a new literary fashion, blending the mythic-chivalric tradition with social changes that characterize the bustling historical period. These libros are configured for nearly a century as a market success is a model and height of a focused literature to chivalrous nobility, in a world where their moral and aesthetic strongholds show is unstable and sensitive. These novels are wrapped device boggling's appearances. Stemmed from the need to rethink the wonderful study. This study analyzes the admiration and the Iberian world from the sixteenth century construction of the wonder device.
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Torres, José William Craveiro. "Além da cruz e da espada: acerca dos resíduos clássicos d'a demanda do Santo Graal." www.teses.ufc.br, 2010. http://www.repositorio.ufc.br/handle/riufc/8077.
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TORRES, José William Craveiro. Além da cruz e da espada: acerca dos resíduos clássicos d'a demanda do Santo Graal. 2010. 363f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2010.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-16T17:15:23Z No. of bitstreams: 1 2010_dis_jwctorres.pdf: 2684846 bytes, checksum: c050f1fb46938241c8a759dee030b082 (MD5)
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The present work has as main objective to point the passages of classic content presented in the medieval novel A Demanda do Santo Graal (portuguese edition of The Quest for the Holy Grail), a novel about chivalry of the first half of the thirteenth century, in order to explain the reason why exist these passages in the novel in question. Another objective is to show how the Middle Ages realize a retaking of values of classical Antiquity, especially with regard to the attitude of the medieval knight: this was the greek hero (or roman hero) as the ideal of bravery, virtue and loyalty; the imaginary of medieval cavalier (or "the imaginary created around of the medieval knight") was practically the same imaginary of greek hero (or roman hero), because of the similarity between the historical and literary contexts in which they both arose. The theory that underpins this work is the Teoria da Residualidade, created by Roberto Pontes, critic, essayist and professor of Literature of the Universidade Federal do Ceará – UFC. During the research, the concepts of imaginary and residual, proposed respectively by the École des Annales and Raymond Williams, a marxist literary critic, are also present. With regard to the methodology, it must be said that the research was conducted, at first, through readings of classics of the ancient Literature (Homer’s Iliad and Odyssey, Vergil’s Aeneid and Ovid’s Metamorphoses) and portuguese novels about chivalry (Amadis de Gaula and, especially, A Demanda do Santo Graal) and through comparative literature, since there was a work of comparison between these texts. Finally, this research is relevant to the academic community because it mentions, in a medieval and christian novel (A Demanda do Santo Graal), an important aspect of the novels about chivalry: the classic, so much neglected by most scholars which deal with the novels of the breton cycle.
O presente trabalho tem como principais objetivos apontar os trechos de teor clássico presentes n' A Demanda do Santo Graal (edição portuguesa), novela de cavalaria da primeira metade do século XIII, e explicar o porquê de excertos dessa natureza no âmbito da obra literária em questão. Procura, ainda, mostrar de que modo a Idade Média realiza uma retomada de valores da Antigüidade clássica; sobretudo no que concerne à postura do cavaleiro medieval: chegou-se à conclusão de que este tinha o herói que se movimenta nas epopéias e nos mitos greco-romanos como ideal de bravura, de virtude e de lealdade, bem como à de que o imaginário deste (ou “criado em torno deste”) era praticamente o mesmo daquele, por conta da semelhança existente entre os contextos histórico-literários em que surgiram ambos. A teoria que serve de base para a realização deste trabalho é a da Residualidade, elaborada por Roberto Pontes, crítico, ensaísta e professor da graduação e do programa de pós-graduação em Letras da Universidade Federal do Ceará – UFC. Durante a pesquisa, os conceitos de imaginário e residual, propostos, respectivamente, pela École des Annales e por Raymond Williams, crítico literário de orientação marxista, fazem-se também presentes. No que concerne à metodologia, deve-se dizer que a pesquisa foi realizada, basicamente, por meio da leitura de clássicos da Literatura das antigas Grécia e Roma (Ilíada e Odisséia, de Homero; Eneida, de Virgílio; e Metamorfoses, de Ovídio) e de novelas de cavalaria portuguesas (Amadis de Gaula e, principalmente, A Demanda do Santo Graal), bem como por meio da Literatura Comparada, visto que houve um trabalho de confronto entre esses textos. Por fim, esta investigação mostra-se relevante à comunidade acadêmica porque aborda, numa novela tipicamente medieval e cristã (estamos falando d‟A Demanda do Santo Graal), um importante aspecto das novelas de cavalaria: o clássico, tão negligenciado pela maioria dos estudiosos que se debruçam sobre as novelas do ciclo bretão.
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Pavlova, Maria. "'Il fior de Pagania' : Saracens and their world in Boiardo and Ariosto." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ef19b552-3215-436c-8744-e91f6fe5f2cf.
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This study investigates the representation of Saracens in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso, a subject that has attracted growing scholarly interest in recent years. Chapter I assesses the degree of realism in Boiardo's and Ariosto's portrayal of Islam and Islamic culture and locates the two poems in their historical context. Bringing to light unpublished archival material and other little-known historical sources, I argue that Boiardo and Ariosto drew inspiration from contemporary courtly culture which was characterised by openness towards the figure of the foreign prince. Chapter II explores Boiardo's engagement with earlier chivalric literature. It examines Boiardo's use of names and characters from earlier texts and evaluates the Saracens' contribution to the ideology that underpins the poem. It is shown that Saracens play an important role in promoting the ‘Arthurian’ chivalric ideals. Chapters III and IV analyse Ariosto's indebtedness to and departures from his predecessor, suggesting that there is a much greater continuity between the two Orlandos than is allowed by Cavallo and other scholars who are anxious to stress Ariosto's 'conservatism'. While chapter III is devoted to a wide-ranging analysis of the Saracen world in Ariosto, chapter IV deals with a topic that has recently generated much heated debate, namely the climactic confrontation between Rodomonte and Ruggiero and the ending of the Orlando furioso and how it should be understood, and I propose a new interpretation of the final canto by highlighting the concept of honour, a fundamental value for both Boiardo and Ariosto as well as for their early readers and for many chivalric authors alike. In my view, Rodomonte is the true winner of the duel. The significance of his 'moral' victory is examined in the study's final conclusion, where it is argued that it undermines Ariosto’s encomiastic project.
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Maus, de Rolley Thibaut. "Elévations. Écritures du voyage aérien à la Renaissance." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040305.
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Du Roland furieux de l’Arioste (1516-1532) au Songe de Kepler (1634), cette thèse propose une étude des récits de voyages aériens dans la fiction narrative de la Renaissance (romans, poèmes épiques, satires) ainsi que des discours théoriques abordant la question du vol et de l’élévation (démonologie, cosmographie, astronomie, discours sur la possibilité du vol humain ou le vol des oiseaux, etc.). Trois principaux objets sont mis en valeur : les voyages célestes écrits dans la lignée de récits comme le Songe de Scipion de Cicéron ou l’Icaroménippe de Lucien de Samosate ; les voyages aériens de la fiction chevaleresque ; le motif du transport diabolique. L’étude montre ainsi l’importance prise par l’imaginaire du vol à la Renaissance, à la croisée de la fiction et des discours savants, et dessine une « pré-histoire » des fictions d’envol avant les récits de Godwin (The Man in the Moone, 1638) et de Cyrano de Bergerac (Etats et Empires de la Lune et du Soleil, 1657 et 1662). Au cœur de cette rêverie se loge tout à la fois le désir de prendre la mesure du monde et les inquiétudes suscitées par ce même désirFrom Ariosto’s Orlando furioso (1516-1532) to Kepler’s Somnium (1634), this thesis offers a study of aerial and celestial voyages in Renaissance narrative fiction (romances, epic poems, satires) as well as of learned treatises related to the question of flying (demonology, cosmography, astronomy, learned discourses on human and bird flight, etc.). It focuses on three main subjects: cosmic voyages in the tradition of Cicero’s Dream of Scipio or Lucian of Samosata’s Icaromenippus; aerial voyages in chivalric romance; diabolical transvection (eg. fly to the sabbath). It thus shows the extent to which flight captured the Renaissance imagination, at the cross-roads between fiction and learned discourse, and it traces a « pre-history » of fictional flying before Godwin’s Man in the Moone (1638) or Cyrano de Bergerac’s Etats et Empires de la Lune et du Soleil (1657 and 1662). At the heart of this fantasy lies a desire to measure the world from above – together with the anxieties produced by the same desire
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Benenati, Stefano. "Le roman d'Alexandre en prose du XIIIe siècle. Histoire de la tradition et édition critique." Electronic Thesis or Diss., Université de Lille (2022-....), 2024. https://pepite-depot.univ-lille.fr/ToutIDP/EDSHS/2024/2024ULILH008.pdf.
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Le Roman d'Alexandre en prose est une adaptation de l'œuvre latine Historia de preliis Alexandri Magni I2 (Orosius-Rezension) en ancien français et a été composé par un auteur inconnu dans les trois dernières décennies du XIIIe siècle (ca.1260-1299). Ce projet propose une étude philologique-littéraire du roman et une édition critique “néolachmannienne” de son texte, pourvue d'un apparat des variantes. La tradition manuscrite (vingt témoins dont deux perdus), imprimée (onze éditions entre 1506 et 1631) et indirecte (sept cas de réemploi de l'œuvre de la deuxième moitié du XIII siècle à la fin du XVI siècle) a fait l'objet d'une description détaillée. L'analyse des variantes textuelles des dix-huit témoins a abouti à une hypothèse sur la transmission de l'œuvre, qui a été représentée dans un stemma codicum. De plus, la mise à jour du recensement des manuscrits de l'Historia de preliis I2 et leur analyse a permis d'identifier la branche de la tradition de l'œuvre latine dont le modèle de la traduction française a dérivé. Des critères d'édition univoques et contrôlables ont été ainsi établis sur la base de ces études. Le manuscrit d'où la surface graphique du texte critique a été puisée a fait l'objet d'une analyse codicologique et linguistique ponctuelle. En outre, l'édition a été complémentée d'un commentaire analytique et d'un glossaire. Sur le plan littéraire, une étude des passages où le traducteur s'est éloigné du texte-source a éclairé les modalités de compilation des sources secondaires (telles que le Roman d'Alexandre en vers, l'Histoire Ancienne jusqu'à César, le Trésor) et la spécificité de certaines de ses interventions originellesThe Roman d'Alexandre en prose is an Old French adaptation of the Latin chronicle known as Historia de preliis Alexandri Magni I2 (Orosius-Rezension). It has been redacted by an unknown author at a certain point during the last three decades of the XIIIth century (around 1260-1299). This project consists of a philological and literary study of the romance and of its “neolachmannian” critical edition. The Old French Prose Alexander's tradition, including the eighteen manuscripts, the eleven printed editions and its indirect tradition, has been described in detail. The scrutiny of its witnesses' textual variants resulted in a hypothesis on its genealogical transmission, which has been represented in a stemma codicum. Moreover, through an analysis of its Latin original's manuscript tradition, we identified the exact branch the model of the French adaptation derived from. Based on those in-depth studies, verifiable and univocal editing principles have been established. The manuscript used for the graphic surface of the critical edition has been the purpose of a specific codicological and linguistic description. Besides, the main interpretative and philological issues have been extensively discussed in a point-by-point comment. The edition has been equipped with a critical apparatus and a glossary, as well. On the literary ground, the investigation of the passages unconnected to the Latin original revealed the specific way in which the author compiled secondary sources such as the verses Roman d'Alexandre, the Histoire Ancienne jusqu'à César, the Tresor, and original contributions
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Gallois, Martine. "Étude sur "Lion de Bourges", poème épique du XIVe siècle." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20027/document.
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L’étude du long poème épique de Lion de Bourges permet de mettre en évidence un parcours individuel modelé par la recherche d’un ordre politique et féodal, au sein duquel le héros tente d’inscrire son action, celle d’un ordre familial, au travers du lignage et de la parentèle, et celle d’un ordre personnel, à la fois recherche des origines et du père, qui devient une quête d’identité. L'idéal chevaleresque s’inscrit donc dans trois perspectives complémentaires. C’est d’abord face à l’instabilité des structures et du pouvoir royal, l’aspiration au rétablissement d’un ordre politique, mais l’inachèvement des actions entreprises et la constante réapparition du mal font que cette quête de l’ordre reste imparfaite. C’est ensuite l’effort pour la restauration d’un ordre familial mis à mal par les entreprises des traîtres et les aléas de l’aventure, mais là encore l’engagement et les efforts du héros ne permettent d’obtenir que des résultats imparfaits ou insatisfaisants. C’est donc à un niveau supérieur, dans la quête d’un ordre intérieur et dans un élan vers la perfection que l’itinéraire personnel de Lion de Bourges peut trouver son véritable sens. Cependant, son ultime tentative pour s’approcher du sacré ne conduit qu’à un échec : le contact avec le surnaturel chrétien est réservé au personnage du Blanc Chevalier, revenant secourable, et le héros doit se contenter d’une forme intermédiaire de merveilleux féerique. En définitive, ce poème témoigne, de manière originale et fort cohérente, de la vision pessimiste de l’idéal humain et de l’engagement héroïque, qui devient prédominante dans l’épopée française tardiveThe long epic poem Lion de Bourges portrays the personal quest of a hero, first, to set in order a feudal political structure; then his own family structure (through ancestry and parentage); and finally, his personal life; for seeking his origins and father becomes a search for his own identity. The chivalric ideal therefore is seen through three complementary perspectives. Initially, when faced with the instability of social structures and royal power, Lion seeks to re-establish political order, but both Lion’s inability to complete his goals and the constant reappearance of evil cause this quest to remain incomplete. Afterwards, Lion’s effort to bring his family back together is derailed by traitors’ plots and the fortunes of adventure, so there again the hero’s efforts produce only imperfect or unsatisfactory results. It is thus only at the highest level, the quest for personal order, for spiritual perfection, that the private itinerary of Lion de Bourges might find its true goal. However, his last desire, to reach sanctity, leads to failure as well: contact with the Christian supernatural is reserved for the White Knight, a helpful spirit, and the hero must content himself with a lesser form of supernatural, the enchanted marvelous world. Clearly, this poem demonstrates, in an original and highly consistent way, the pessimistic view of the human ideal and of heroic engagement that predominates in late French epic
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Hedenmalm, Li. "La perception de la Nature dans Le Roman de Tristan et Iseut : Étude écocritique comparative entre la composition de Joseph Bédier et ses sources médiévales." Thesis, Uppsala universitet, Romanska språk, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-416710.
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Ce mémoire est une analyse comparative écocritique entre Le Roman de Tristan et Iseut, composé par Joseph Bédier en 1900, et ses sources médiévales principales : les poèmes du XIIIe siècle de Béroul, de Thomas d’Angleterre, d’Eilhart d’Oberg et de Gottfried de Strasbourg. L’objectif principal de notre étude est de chercher à savoir si la perception de la Nature dans le roman de Bédier diffère de celle des textes médiévaux. Pour atteindre ce but, nous dirigeons notre attention sur les descriptions des paysages sauvages et sur les épisodes où les forces de la Nature semblent influencer le déroulement des évènements du récit. Nous analysons ces passages, et nous les comparons avec les descriptions correspondantes tirées des sources de Bédier. Nos résultats montrent que, même si la représentation de la Nature est chez Bédier loin d’être unilatérale, elle témoigne généralement d’une vue plus positive de la nature sauvage par rapport aux textes médiévaux. De ce fait, le roman de Bédier s’éloigne de la tradition médiévale, qui consiste à voir les environnements sauvages comme étant inhospitaliers et périlleux, et s’approche plutôt de la tradition romantique qui célèbre les merveilles de la Nature.This essay is a comparative ecocritical analysis of The Romance of Tristan and Iseult, composed by Joseph Bédier in 1900, and its principal medieval sources: the thirteenth-century poems of Béroul, Thomas of Britain, Eilhart von Oberge and Gottfried von Strassburg. The overall aim of the study is to investigate how the perception of Nature in Bédier’s work differs from that in the medieval texts. To meet this aim, we turn to the textual descriptions of wild landscapes and the episodes where the forces of Nature seem to have a powerful influence on the unfolding of the events in the story. These passages are analysed and compared with the corresponding descriptions in Bédier’s sources. Our results show that, while Bédier’s portrayal of Nature is by no means one-sided, it generally displays a more positive view of Nature and wilderness than the medieval texts. In this regard, Bédier’s novel moves away from the medieval tradition of imagining wild environments as inhospitable and perilous and approaches the romantic tradition of celebrating the wonders of Nature.
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Bikard, Arnaud. "La Renaissance italienne dans les rues du Ghetto : autour de l’œuvre poétique yiddish d’Élia Lévita (1469-1549)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040115.
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La thèse constitue la première étude d’ensemble de l’œuvre poétique yiddish d’Élia Lévita (1469-1549) qui cherche à définir sa place dans la littérature de la Renaissance en analysant les transferts esthétiques et culturels ayant présidé à sa production. Elle situe l’œuvre vernaculaire de ce savant hébraïste, proche des humanistes chrétiens, dans les traditions poétiques juives hébraïques et yiddish et dans la logique d’une affirmation du rôle de l’écrivain et de la langue vernaculaire dans la société juive. Elle analyse également la portée des modèles extérieurs, chrétiens, en insistant sur l’inscription des romans de chevalerie de Lévita dans l’évolution générale du genre chevaleresque en Italie, et met en évidence le rôle fondamental qu’a joué l’Arioste, et en particulier le Roland furieux, dans le raffinement progressif du projet esthétique de l’auteur. Enfin, elle propose la première analyse d’un certain nombre de textes de la littérature yiddish ancienne, conservés dans des manuscrits, et fournit des arguments pour l’attribution de nouvelles œuvres à Lévita, dont un long poème satirique sur les femmes. Par son ampleur et par sa variété, l’œuvre vernaculaire d’Élia Lévita constitue non seulement la première œuvre moderne de la littérature yiddish mais aussi un cas particulièrement éclairant sur la diffusion des modèles esthétiques de la Renaissance dans des catégories ethniques (les juifs) et sociales (les classes populaires) que l’on aurait pu croire éloignées de ces mutations culturellesThis PhD dissertation is the first study entirely dedicated to the poetical creation of Elia Levita in Yiddish (1469-1549) and aims at defining its place in Renaissance literature by proposing a detailed analysis of the esthetical and cultural transfers this work illustrates. It locates the vernacular production of this renowned Hebraist, who was acquainted with numerous Christian Humanists, inside the Yiddish and Hebrew poetical traditions and sheds light on the new functions endorsed by the writer and the vernacular language in Jewish society at the beginning of the modern era. It also discusses the influence of external – i.e. Christian – models on the poet and insists on the participation of Levita’s chivalric romances to the global evolution of this genre in Italian literature, by underlying, in particular, the essential role played by Ariost, and his Orlando Furioso, in the progressive refinement of the author poetical practice. Finally, it analyses, for the first time, some texts of Old Yiddish literature which were still buried in manuscripts, and argues for the attribution of new works to Elia Levita, among them, a long satire about women. Elia Levita’s vernacular work not only constitutes, by its size and variety, the first modern work of Yiddish literature but it is also a rich and enlightening example of the diffusion of Renaissance esthetical models inside ethnic and social groups (the Jews and popular classes) which one might have thought untouched by such cultural transformations
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Gopinath, Praseeda. "'Scarecrows of chivalry' : the literature of post-imperial English masculinity /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3223598.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006.Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2590. Advisers: Jed Esty; Joseph Valente. Includes bibliographical references (leaves 285-301) Available on microfilm from Pro Quest Information and Learning.
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"The Use of Chivalry as a Binding Force in Public Events Within Four Sir Gawain Romances." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.14942.
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abstract: While tournaments, duels, and challenges were analyzed within literary texts prior to the 1980's, the most recent trend in scholarship has been to focus on how these proceedings fit into a historical context. Many authors have noted how medieval rulers used tournaments, duels, and challenges as a way to keep their militaristic knights under control; however, there has been relatively little study on the way that these three events function as a means of social control in medieval romances. This paper examines how the public nature of these events and the chivalric nature of their participants combine to subvert the agency of not only the nobles, but also King Arthur himself in four of the Sir Gawain romances, "Ywain and Gawain", "The Knightly Tale of Gologras and Gawain", "The Awntyrs off Arthur at the Terne Wathelyne" and Sir Gawain and the Green Knight.Dissertation/Thesis
M.A. English 2012
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Meierhoffer, Lynn Vaulx. "Hacia Cervantes : confluence of the “Byzantine” and the chivalric literary traditions in the Quijote." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3098.
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Miguel de Cervantes’s novel El Ingenioso Hidalgo Don Quijote de la Mancha Part One (1605) and Part Two (1615) has delighted readers for centuries. The literary criticism analyzing just this one product of Cervantes’s literary genius is voluminous. In particular, the novel’s structure has received significant scrutiny, and discussions
regarding its unity, or lack thereof, abound. This debate rages today with Cervantine experts still espousing various theories.
Puzzling over this quandary and asking why a truly convincing explanation regarding the structure has not emerged, we arrive at a partial answer. We believe that there is unity in the Quijote and that Cervantes created a unified work by ingeniously taking full advantage of the elements of both the “Byzantine” and the chivalric literary traditions, combining them in a harmonizing synthesis. Moreover, he resolved the problem of unity within variety by establishing thematic consistency throughout.
The purpose of our study is to explore the confluence of the “Byzantine” and chivalric literary traditions in works that precede Cervantes and to examine how Cervantes innovatively worked with this element in the Quijote of 1605. We present a panoramic view of works written between the thirteenth and the mid-sixteenth centuries, which reveal writers’ efforts to combine, consciously or unconsciously, the various characteristics of the “Byzantine” and chivalric literary traditions. For this project, we look at six representative works written in Spanish or Italian that represent significant antecedents to the Quijote and Cervantes’s unique method of synthesizing the traditions: Libro de Apolonio, Libro del caballero Zifar, Orlando innamorato, Orlando furioso, Palmerín de Olivia, Los amores de Clareo y Florisea y los trabajos de la sin ventura Isea. We investigate each author’s approach at coupling the two traditions and determine his/her degree of success in merging them artistically to produce a coherent whole.
Our analysis reveals that not only does Cervantes systematically integrate the two literary traditions in his parody, but he also skillfully devises a way to unify thematically the delightful variety in his work. To wit, Cervantes embraces the theme of literature (fiction) and life (reality) and explores the need for distinguishing judiciously between them.text
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Cai, Jheng-hong, and 蔡政宏. "A Study of Grotesque Literature and Chivalric Novel." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/98075670309698486642.
Full textAbstract:
碩士國立雲林科技大學
漢學資料整理研究所碩士班
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The study of the Chivalric Novel is prevalent in recent years, especially concentrate on such modern Chivalric Novel as Jin Yong’s novel. However, the study of old school chivalric novel like Hai Zhu Lou Zhu’s “Shu Shan Jian Xan Zhuan” is not a popular topic in academic research. Therefore, this study with the name “Grotesque Literature and Chivalric Novel”aimed to explore the value of those novels. This essay focused on the variation and involvement and the influence on the descendents of gallant novels between two vital elements — gallant and grotesque, from the grotesque color of the gallant novel in early Tang dynasty until the early Republic of Chinese period. With such methodology , this monograph attempted to figure out and explain the evolvement and being the first step at this field.