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Copas, Leigh. "Courtship, Loe, and Marriage in Othello: Shakespeare's Mockery of Courtly Love." TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/449.
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Othello is the forgery of a comedic play turned tragedy, for the play begins where the ordinary comedy would end. While many critics prefer to discuss the racial and exotic aspects of William Shakespeare's tragedy, there are several critics who focus on the role of love and the marital relationships that are also important in terms of interpreting the actions of key characters. Carol Thomas Neely, Maurice Charney, and several other literary critics have focused primarily on the role of marriage and love in Othello. The topic of marriage is generally discussed in terms of the wooing scene (Act 1, scene 3) and the perverted consummation of the marriage rights (Act 5, scene 1), but there is little reflection on the courtly love rules and conventions from most critical approaches. Courtly lovers were a dying breed in Shakespeare's time, yet he employs the use of basic courtly love principles not only in Othello, but in many of his works, particularly comedies like the Merry Wives of Windsor and As You Like Lt. The use of such principles allows ridicule and scorn to take place in the plays, but in Othello, courtly love introduces the themes of cuckoldry and, most importantly, women's loss of power. Women's loss of power is another issue that critics often deconstruct, yet this concept is also linked to the principles of courtly love. Within the courtly love tradition men were often submissive to women—in Chretien de Troyes' Lancelot and Geoffrey Chaucer's "The Wife of Bath's Tale," men tended to bend to the will of women, often finding happiness and true love by doing so. The Moor General Othello is first presented as a submissive husband, but as the play progresses, the embarrassment of Desdemona's presumed infidelity begins to unravel his ideas of love. Instead of following the courtly conventions of dealing with adultery, Othello transforms into the Renaissance ideal Petrarchan lover, one who seeks spiritual love over physical love and views sexuality as sinful. The ideas and rules of courtly love contradicted the principles of the Renaissance Petrarchan lover. However, Shakespeare employed the tradition of courtly love to emphasize mockery and satire as overall themes of the play. For example, Othello and Desdemona are presented first and foremost as lovers that uphold the conventions of courtly love—they try to keep their relationship as secretive as possible and Othello appears subject to the will of his beloved. However, later in the play, instead of listening to the guidance and innocent speeches of his beloved, Othello returns to the love philosophies of antiquity. To the philosophers of classic love philosophy, love, and therefore passion, was considered sinful and untrustworthy, especially as a firm foundation for progress. Ultimately, it is Othello's devotion to his militaristic and social images that outweighs his love for Desdemona. Yet, instead of separating from his wife, the Moor feels that the only way to win control over the lord-vassal relationship is to murder her, or as he claims in Act 5, scene 1, to "sacrifice her." Othello depicts the ideas and rules of courtly love outlined and recorded by Andres Capellanus in The Art of Courtly Love. Whilst his contemporaries still dreamed of fair maidens with sparkling eyes, Shakespeare explored other methods and conventions from the Middle Ages and combined, as well as contrasted, them with the newer conventions of the Renaissance. His story is one of anti-courtly love—a story focusing on the death of chivalry, romantic courting, and Othello's inability to love. The play detests, destroys, and mocks the ideas of courtly wooing, marriage, and fidelity. A play of power, Othello reflects such characteristics through a verisimilitude of circumstances, specifically seen in the wooing of Desdemona, the marriage bed of Othello and Desdemona, and the loss of women's power in the play. Tainted with "honorable" murder, jealousy, and the fabliau tradition of cuckoldry, Othello has been preserved as Shakespeare's great tale of love gone awry.
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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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Warden, Tonya. "Medieval Courtly Love: The Links between Courtly Love, Christianity, and the Roles of Women in Tennyson and Morris." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etd/96.
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The art of courtly love is difficult to pinpoint because there are many facets that extend into different areas. In the Pre-Raphaelite and Medieval periods, love was more formulated with rules, moral standards, and codes. Courtly love is often seen as the "love" practiced by kings, queens, and other nobility because of the mystique that surrounds legendary stories like Lancelot and Guinevere. Courtly love encompasses spiritual awakening, lust, passion, adultery, and religion; therefore, the art of courtly love intrigues as well as interests its readers.
Many critics have studied the effects of courtly love in literature and have come to the conclusion that courtly love was not only linked to Christianity, but that courtly love was also linked with other religions and philosophies. The link between Christianity and courtly love is the largest debate between critics and scholars within this particular genre.
Women have also played a part in understanding courtly love because of their complex role within the storylines of the literary poems. Women were often seen as the stronger of the sexes; however, they were viewed as objects instead of people. In courtly love, women were often the downfall of men because of their idle ways and abilities to deceive men. Women are important for the understanding of the rules and courtships between men and women during this period.
Tennyson and Morris had the most influential courtly love literature during the Pre-Raphaelite period. Their contributions to the tale of the Arthurian Legend are inherent to the understanding of this genre of courtly love. With Idylls of the King, Tennyson brought a resurgence of interest in the Arthurian Legend. His Idylls are various stories about the trials and tribulations of Arthur's life and others in Camelot. Morris followed the brilliance of Tennyson's Idylls with The Defense of Guinevere, which is a poem solely based on Guinevere's perspective and point of view. These two authors sought to create a myth around the Arthurian Legend with great vigor and their own poetic style.
There has been a plethora of discussion on the topic of courtly love; however, there has not a been a common agreement on its origins. This study shows how courtly love relates to literature during the Pre-Raphaelite period, most especially in the Arthurian Legend.
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Al-Sawda, Mahel. "The rise and transformation of courtly love : a study in European thought of love." Thesis, University of Essex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332903.
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Ray, Ingrid N. "Narrating desire/desiring narrative in Marguerite de Navarre's Heptameron /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6637.
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Bates, Catherine. "Courtship and courtliness : studies in Elizabethan courtly language and literature." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:7d87cb87-8146-4d47-a19e-4cc9aee21467.
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In its current sense, courting means 'wooing'; but its original meaning was 'residing at court'. The amorous sense of the word developed from a purely social sense in most major European languages around the turn of the sixteenth century, a time when, according to some historians, Western states were gradually moving toward the genesis of absolutism and the establishment of courts as symbols and agents of centralised monarchical power. This study examines the shift in meaning of the words courtship and to court, seeking the origins of courtship in court society, with particular reference to the court and literature of the Elizabethan period. Chapter 1 charts the traditional association between courts and love, first in the historiography of 'courtly love', and then in historical and sociological accounts of court society. Recent studies have questioned the quasi- Marxist notion that the amorous practices of the court and the 'bourgeois' ideals of harmonious, fruitful marriage were antithetical, and this thesis examines whether the development of 'romantic love' has a courtly as well as a bourgeois provenance. Chapter 2 conducts a lexical study of the semantic change of the verb to court in French, Italian, and English, with an extended synchronic analysis of the word in Elizabethan literature. Chapter 3 goes on to diversify the functional classification required by semantic analysis and considers the implications of courtship as a social, literary and rhetorical act in the works of Lyly and Sidney. It considers the 'humanist' dilemma of a language that was aimed primarily at seduction, and suggests that, in the largely discursive mode of the courtly questione d'amore, courtship could be condoned as a verbalisation of love, and a postponement of the satisfaction of desire. Chapter 4 then moves away from the distinction between humanist and courtly concerns, to examine the practice of courtship at the court of Elizabeth I. It focuses on allegorical representations of Desire in courtly pageants, and suggests that the ambiguities inherent in the 'legitimised' Desire of Elizabethan shows exemplify the situation of poets and courtiers who found themselves at the court of a female sovereign. In chapter 5 discussions of the equivocation inveterate to courtly texts leads to a study of The Faerie Queene, and specifically to Spenser's presentation of courtship and courtly society in the imperialist themes of Book II and their apparent subversion in Book VI. The study concludes with a brief appraisal of Spenser's Amoretti as a model for the kind of courtship that has been under review.
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Braekman, Martine. "Medieval origin, compository techniques and traditions of the courtly love aunter, illustrated by the edition of three hitherto unpublished early Tudor printed poems." Thesis, University of Nottingham, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315074.
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O'Brien, Erica F. ""FLIPPING THE SCRIPT": FEMININE CULPABILITY MODELS IN FIFTEENTH-CENTURY IBERIAN TEXTS." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/577421.
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SpanishPh.D.
This dissertation explores the ways in which feminine culpability is verbally articulated by the male courtly lover to his beloved lady within the amorous relationship in three fifteenth-century Spanish sentimental novels: Diego de San Pedro’s Cárcel de amor, published in 1492, and two of Juan de Flores' sentimental novels, Grimalte y Gradissa and Grisel and Mirabella, both published in approximately 1495, and how these motifs of feminine culpability are subverted in the anonymous fifteenth-century Catalan chivalric novel Curial e Güelfa. This subversion of culpability motifs is facilitated in Curial e Güelfa since there is also a subversion of gender roles within the amorous relationship of the novel's protagonists: a female lover, Güelfa, who courts her male beloved, Curial. To execute this study, I begin by discussing the origins of this rhetoric of feminine culpability in patristic, Biblical and philosophical texts, illustrating their sedimentation into the collective ideologies of medieval audiences. I also examine these feminine culpability models in Provençal lyric poetry written and recited by Occitan troubadours between the eleventh and thirteenth centuries, as one of its particular genres, the mala cansó, aims to not only blame the beloved lady, but also to publicly defame her, a threat that is also ever-present in the words of the male lover in the sentimental novel. After analyzing the tactics used by the male courtly lover to blame the beloved lady for his suffering and the demise of the relationship, I demonstrate how these same tactics are employed by the female characters of Curial e Güelfa toward the beloved man. However, feminine blame still occurs in Curial e Güelfa, manifested as feminine self-blame and blame between women, while the male characters engage in self-absolution, absolution of other men, and utter shirking of the blame. The theoretical framework employed is that of medieval canon law, and the way in which culpability was determined under this law from the twelfth century onward, which was by the intentions of the offender at the time of the crime or transgression rather than the consequences of the transgression. If we examine these fifteenth-century courtly love texts, it becomes clear that the beloved lady is innocent, while the male lover himself is the culpable party. Finally, following Rouben C. Cholakian's reading of the troubadour poetry through the work of twentieth-century psychoanalyst Jacques Lacan, I conclude that although the poet-lover verbally enunciates erotic metaphors and adulating language toward his beloved lady in the guise of courtly love, the true desire that he cannot articulate is to dominate, to overpower, and possibly to eradicate the feminine. Thus, in a Lacanian sense the notion that courtly love literature praises the woman is a fallacy. Both the poet-lover of the Provençal lyric and the courtly lover of the sentimental novel subvert the concept of alleged feminine superiority and exaltation in these texts.
Temple University--Theses
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Robertson, Abigail G. "The Mechanics of Courtly and the Mechanization of Woman in Medieval Anglo-Norman Romance." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1415804460.
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Russo, Valeria. "Archéologie du discours amoureux : prototypes et régimes de l'amour littéraire dans les traditions galloromanes médiévales." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423322.
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L’histoire de l’amour courtois propose un récit complexe, dans les faits littéraires autant que dans les vicissitudes de son herméneutique.
De nombreux embarras et impasses dérivent d’emblée de l’histoire de sa désignation - et du patrimoine théorique qui l’accompagne. Utilisée régulièrement comme unité minimale d’identification de la représentation amoureuse, la notion d’amour courtois continue de délimiter l’érotique galloromane : mais si, d’une part, elle aide à en souligner les spécificités, elle en force, de l’autre, l’univocité. Depuis l’étude fondatrice de G. Paris (1883), l’amour dans la littérature médiévale a fini par correspondre, au sein des consciences critiques, aux critères fondamentaux de l’amour courtois.
Les conséquences de cet équilibre trompeur sont, dans la production critique, variées. Dans le domaine de l’étude synchronique mono et intertextuelle, les autres formes et sens que l’amour médiéval connaît en dehors de ce schéma ne font pas l’objet d’une attention interprétative aussi scrupuleuse que celle qu’on accorde à l’amour courtois proprement dit ; dans la perspective de l’histoire des origines, l’amour courtois est aisément placé dans un parcours idéologique et culturel indépendant par rapport à l’histoire littéraire générale ; les aspects chronologiques internes à ce phénomène sont généralement aplatis, dans un mécanisme de nivèlement des cycles temporels ; à l’immobilité des paradigmes exégétiques s’est associée, enfin, la constitution d’un “canon” de textes faisant fonction de garants de la définition.
L’état de l’art, qui compte à présent des progrès remarquables, bénéficie d’études éminentes sur ce sujet. L’ensemble de ces résultats n’a toutefois pas engendré un réseau critique compact, au vu de ce qui procède des pivots interprétatifs fondamentaux. Dans notre thèse, nous offrons des hypothèses herméneutiques et un modèle méthodologique visant à l’éclaircissement et à l’élargissement des perspectives.
à l’univocité des théories liées au canon et à la notion d’amour courtois, le présent travail substitue un plan d’analyse plus ample, celui du discours amoureux galloroman : les marges d’un tel objet sont ouvertes à toutes les expressions et représentations érotiques de matrice laïque. Les possibilités hétéroclites du discours amoureux (R. Schnell 1989), qu’il est fondamental de considérer comme un ensemble idéologique, culturel et littéraire, sont soumises à une analyse visant à offrir un cadre interprétatif à la fois particulier et général. Afin de réévaluer les fondements de cet objet (en renouvelant mais aussi en bornant les horizons de R. R. Bezzola, 1944-63), notre enquête fait collaborer les plans critiques et chronologiques: la phase exégétique de cette étude, supportée par l’analyse philologique des textes, s’accompagne de l’étude stylistique et rhétorique. Ce travail procède selon les étapes suivantes : l’identification des motifs et des thèmes génératifs (noyaux de fond) a été suivie par la construction d’un répertoire de prototypes du discours amoureux et par l’étude de leur diffusion selon les époques et les lieux. Cette opération a été supportée par la périodisation du discours amoureux en trois phases distinctes, au sein desquelles le code expressif s’est fixé : le Midi, d’abord, inaugure la phase de formation d’un langage lyrique primordial, qui vise à valoriser et sublimer l’amour humain, pour exalter la chasteté dans une morale interne et élitiste ; dans le Nord, ensuite, naît un discours amoureux qui concilie la pensée et la formation des clercs avec l’idéal conjugal séculier, construisant de ce fait un modèle d’ordre social ; enfin, les réalités urbaines septentrionales offrent, d’un côté, une réception néo-curiale des prototypes lyriques et, de l’autre, une réélaboration théologique et encyclopédique, mais aussi profane et pratique, de la tradition courtoise.
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Rueda, Sánchez Marina. "«En cada desdén un rayo»: la impronta del amor cortés en la lírica áurea española." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671087.
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El amor cortés puede considerarse una revolución en la lírica profana de tipo amoroso que nació en las cortes occitanas del siglo XII y se extendió rápidamente por el país galo hasta pro- pagarse por toda la Europa medieval. La influencia de esta nueva forma poética de entender el amor y a la mujer resulta ostensible en múltiples manifestaciones líricas tanto en la época que la vio nacer como en siglos posteriores, lo cual se observa, especialmente, en la poesía amorosa del Siglo de Oro español, donde los paralelismos entre la corriente trovadoresca y la lírica del mentado siglo afloran prácticamente en toda rima amatoria. El presente estudio ahonda en la repercusión que tuvo la fin’amors en la península ibérica por medio de un análisis en profundidad tanto conceptual como estructural del juego entre imitación e innovación que impregna esta poesía, siempre a partir de la obra de los autores que enmarcan, como hilo conductor ejemplar, lo que llegó a ser la evolución de la fin’amors al amor cortés áureo.Courtly love can be considered a revolution in the love secular lyric ambit. This lyric born in the courts of the twelfth century and quickly spread throughout the Gallic country up to the medieval Europe, and its influence is present in many lyric works in the way of understanding the poetic figure of love and the woman, especially in the case of the Spanish Golden Age poetry. The intention of this paper it to offer an explanation of the impact of the fin’amors in Hispanic peninsula and, chiefly, in the parallelism between the medieval troubadour and the lyric of Golden Age through a conceptual and structural analysis of the game between imitation and innovation that permeates this poetry, always based on the work of the authors who frame, as an exemplary conductive thread, what became the evolution of the fin’amors for the golden courtly love.
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Carvalho, Ligia Cristina [UNESP]. "O amor cortês e os Lais de Maria de França: um olhar historiográfico." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/93390.
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Durante a Idade Média Central (XI-XIII), mais precisamente na segunda metade do século XII, foram produzidos os Lais de Maria de França, escritos literários que abordam o amor cortês. Apesar de fazerem parte das literaturas de divertimento da corte, os Lais são um tipo específico de registro histórico acerca da sociedade aristocrática medieval. Propomo-nos neste trabalho, por meio de uma análise centrada na temática do amor cortês presente nesta fonte, refletir sobre a construção de uma nova representação mental de amor. Neste mesmo sentido, respeitando a especificidade da fonte, buscaremos apreender as realidades sociais e o imaginário medieval, tentando compreender de que maneira Maria de França retrata a sociedade de seu tempo, com seus preceitos e interdições, ao mesmo tempo, reafirmando certos valores e insurgindo contra outros.
During Central Medium Age (XI-XIII), exactly at the second half of XII Century, Lais de Marie de France were written, literary writings which discuss the Courtly Love. Although they are considered funny literature of the court, Lais are a specific history record about medieval aristocratic society. This work intends to reflect about the construction of a new love mental representation, according to analyses about the Courtly Love found in this source. The same way, respecting the source specificity, we will try to understand the socials realities and the medieval imaginary, trying to comprehend how Marie de France presents the society of that time, with the precepts and interdictions, reaffirming such values and, at the same time, rebelling against others.
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Säll, Ellen. "Att älska högt och på avstånd : En komparativ analys av kärleksuttrycket inom hövisk kärlek och klassisk persisk poesi av Jalal al-din Rumi och Fakhr al-din Araqi." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-183001.
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This essay aims to examine the expressions of love in classical Persian poetry and the European, medieval courtly love. The main focus is to analyze the Persian divine love using a selection of poems from Jalal al-din Rumis Vassflöjtens sång and Fakhr al-din Araqis Gnistornas bok, both translated and commented by Ashk Dahlén. The method used for this study is to analyze the Persian divine love with the perspective of the courtly love using the questions how the love in the poems are expressed and how it relates to the rules of courtly love. The knowledge behind the Persian poetry is mostly provided by Ashk Dahlén, Bo Utas and Simon Sorgenfrei with Kärleken begär att detta tal skall fram. The divine love is in the analysis compared with different expressions of medieval courtly love throughout the century supported by Anders Cullheds chapter about courtly love in Tidens guld: essayer om kanon, liv, poesi and Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. I do a comparative analysis between the Persian poetry and different examples from the courtly love highlighting mostly the similarities but also some important differences. It also examines the use of eros and agape with the help of Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik for a more in depth analyze. In conclusion, I found that there are a lot of similarities in the expression of both worldly and divine contexts but that it is built on different foundations. The essay ends by discussing the predominant similarities and why it might be similar but also problematizes and highlights a few differences like the use of eros and agape and the use of motives. The intention of this essay is to open up for further research regarding the subject and examine why it is possible to find such similarities at the same historical time but in two different parts of the world.Denna uppsats ämnar jämföra kärleksuttrycket i klassisk persisk poesi med den europeiska, medeltida höviska kärleken. Syftet med denna uppsats är att utifrån ett höviskt kärleksperspektiv analysera hur kärleken kommer till uttryck hos två namn inom den klassiska persiska poesin, Jalal al-din Rumi och Fakhr al-din Araqi. Den gudomliga kärleken har analyserats med hjälp av Rumis samling Vassflöjtens sång och Araqis Gnistornas bok, båda översatta och kommenterade av Ashk Dahlén. Metoden för denna uppsats är att analysera den persiska poesin med hjälp av den höviska kärleken som ett verktyg. Detta kommer att göras med hjälp av frågorna hur kärleken i poesin tar sig uttryck och hur den förhåller sig till den höviska kärleksmodellen. Vetskapen om den persiska poesin tillhandahålls av bland annat Ashk Dahlén, Bo Utas och Simon Sorgenfrei med antologin Kärleken begär att detta tal skall fram. Den gudomliga kärleken jämförs i analysen med olika uttryck av höviska kärlek genom århundradet med hjälp av Anders Cullheds kapitel om hövisk kärlek i Tidens guld: essay om kanon, liv, poesi och Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. Jag gör en komparativ analys mellan den persiska poesin och diverse exempel från den höviska kärleken och framhäver framförallt dess likheter men också en del större olikheter. Uppsatsen undersöker också användningen av eros och agape med hjälp av Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik för en djupare analys. Sammanfattningsvis visar analysen en rad likheter i uttrycket inom både värdsliga och andliga sammanhang men också att dessa likheter grundar sig på olika utgångspunkter. Uppsatsen avslutas med att diskutera de övervägande likheterna och varför dessa går att finna men problematiserar och framhäver även de olikheter som går att finna som användadet av eros och agape samt användningen av motiv. Intentionen med denna uppsats är att öppna upp för mer forskning inom området och att undersöka varför det är möjligt att finna dessa likheter under samma tidsperiod i olika delar av världen.
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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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Carvalho, Ligia Cristina. "O amor cortês e os Lais de Maria de França : um olhar historiográfico /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/93390.
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Orientador: Ruy de Oliveira Andrade FilhoBanca: Ana Paula Tavares Magalhães Taconi
Banca: Milton Carlos Costa
Resumo: Durante a Idade Média Central (XI-XIII), mais precisamente na segunda metade do século XII, foram produzidos os Lais de Maria de França, escritos literários que abordam o amor cortês. Apesar de fazerem parte das literaturas de divertimento da corte, os Lais são um tipo específico de registro histórico acerca da sociedade aristocrática medieval. Propomo-nos neste trabalho, por meio de uma análise centrada na temática do amor cortês presente nesta fonte, refletir sobre a construção de uma nova representação mental de amor. Neste mesmo sentido, respeitando a especificidade da fonte, buscaremos apreender as realidades sociais e o imaginário medieval, tentando compreender de que maneira Maria de França retrata a sociedade de seu tempo, com seus preceitos e interdições, ao mesmo tempo, reafirmando certos valores e insurgindo contra outros.
Abstract: During Central Medium Age (XI-XIII), exactly at the second half of XII Century, Lais de Marie de France were written, literary writings which discuss the Courtly Love. Although they are considered funny literature of the court, Lais are a specific history record about medieval aristocratic society. This work intends to reflect about the construction of a new love mental representation, according to analyses about the Courtly Love found in this source. The same way, respecting the source specificity, we will try to understand the socials realities and the medieval imaginary, trying to comprehend how Marie de France presents the society of that time, with the precepts and interdictions, reaffirming such values and, at the same time, rebelling against others.
Mestre
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Hanrahan, Gregory Scott. "Love Affairs as Power Struggles in English Court Life: John Donne's "The Apparition," "The Extasie," and "The Canonization"." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539720292.
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Ganiere, Catherine Christine. "Women Troubadours in Southern France." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1272.
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In the twelfth and thirteenth centuries women troubadours in southern France called trobairitz participated in dialogue or debate poems called tensons with male troubadours. Of the nine existing tensons that include a male and a female voice, we will only analyze five tensons with the known identities of both the trobairitz and the troubadour that debate the subject of love, and we will include the following trobairitz tensons in this paper: Alamanda, Isabella, Garsenda, Lombarda and Maria de Ventadorn. We will discuss the thematic elements these five tensons share. Scholars such as Pierre Bec, Peter Dronke and Katharina Wilson note trobairitz' themes vary from those of traditional male troubadours. Troubadours concentrate on the outward or social manifestations of the courtly love game and values, yet trobairitz focus on the intimate, private pleasures of love by deviating from generally accepted courtly love conventions and social behaviors. Since the subject of love is debated in these five tensons, the personal character in these tensons alludes to the trobairitz's life—circumstances and incidents. A trobairitz's personal character is also illustrated in the tenson by her willingness to show personal qualities about a love relationship and as Deborah Perkal-Balinsky calls it "a willingness to deviate from accepted social behavior or perhaps the rules of the game, in an effort to attain the intimate pleasures in a love relationship" (46). The tensons discussed provide valuable information about trobairitz and courtly love—the publicly displayed values of honor, valor and mercy. At times, trobairitz solicit love by revolting against the courtly love rules to win a man. In courtly love tensons, trobairitz use the literary style, courtly vocabulary and courtly values to express both their support and criticism for the system. Through the use of courtly vocabulary, trobairitz conform to the styles developed by troubadours, yet when trobairitz write as female lovers and poets, they also discard the conventions set forth by troubadours, since they are not male lovers and poets. In each tenson the literary mode is man-in-society, and the theme centers around love"”either the praise of it or the blame from lack thereof or both (Hagen 27). In each of the five tensons, there are three common threads in the trobairitz love relationships: (1) in each tenson we see the personal character of the trobairitz; (2) we see them deviate from the accepted social behavior or the rules of the game; and (3) we witness that the trobairitz are usually unhappy with their love relationships. We will examine each tenson individually regarding these three aspects.
18
Hostert, Thomas. "L'amor cortese provenzale fra hohe Minne e dolce stil novo." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79948.
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In this thesis, a literary historic path on the development of the lyric expression of courtly love will be created. The path will take us from the Provence through Germany and Sicily, and up to the Tuscany of the thirteen's century. The poetic characteristics of the hohe Minne and dolce stil novo will be particularly highlighted in order to facilitate the comprehension of their similarities and differences. It is understood that it will not be possible to offer a complete interpretation of the two lyric expressions. Rather, this thesis wishes to offer a basis for the development of further comparative studies between the German and Italian lyric expressions that were inspired by the Provencal courtly love. As representatives of the evolution of the poetry of love in Germany and Italy, Walther von der Vogelweide and Guido Cavalcanti were chosen for the innovative character of their poetry and the artistic quality of the results they achieved.
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Aydogdu, Merve. "Tragedy At Court: An Analysis Of The Relationship Between Jealousy, Honour, Revenge And Love In John Ford." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615438/index.pdf.
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The aim of this study is to demonstrate the destructive effects of infidelity in the old-aged husband-the young wife marriages which end up with tragedy. In John Ford&rsquos Love&rsquo
s Sacrifice (1633) and Lope de Vega&rsquo
s Punishment Without Revenge (1631), tragedy turns out to be the inevitable consequence of the plays since the motives of jealousy, honour, revenge and love converge and lead people to commit sinful crimes. Within this scope, the first chapter of the thesis is devoted to the historical information about the state of English and Spanish theatres together with the biographies of the playwrights. In the second chapter, the tripartite relationship between jealousy, revenge, and honour is dealt with based upon examples from the primary sources in a historical framework. The reasons and results of these themes are studied through the characters in the plays. The third chapter covers the theme of love, its history and its influence on characters. In this chapter, the nature of love between the characters and its consequences are examined. The conclusion asserts that the old-aged husband and the young wife create a mismatched union and accompanied with the motives of honour, jealousy and revenge, the institution of marriage breeds tragic consequences. The analysis of the above mentioned themes is based on a historical context and it is also concluded that although Love&rsquo
s Sacrifice (1633) and Punishment Without Revenge (1631) belong to the Renaissance age, both plays bear the influences of the Greco-Roman drama tradition. Thus, the similarities and differences between classical and Renaissance tragedy are demonstrated.
20
Warden, Tonya. "Medieval courtly love the links between courtly love, Christianity, and the roles of women in Tennyson and Morris /." [Johnson City, Tenn. : East Tennessee State University], 2000. http://etd-submit.etsu.edu/etd/theses/available/etd-0314101-152701/restricted/warden0412.pdf.
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Moussaid, Malika. "A Courtly Device : the courtly and the popular in Ben Jonson's Masques, 1605 - 1621." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309934.
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Judkins, Ryan R. "Noble Venery: Hunting and the Aristocratic Imagination in Late Medieval English Literature." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337896675.
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Collins, R. E. "Courtly and neocourtly : love, licence and Latinity in selected Old French fabliaux." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597858.
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Per Nykrog says that 'the point of view of the Old French fabliaux is identical to that of courtly literature'. This Dissertation sets this opinion beside the blatant uncourtliness found in certain fabliaux, and argues that their Courtliness is Neocourtliness. A.D. Mikhailov observes that the uncourtly are not confined to one class or type, but are those who show une sécheresse de coeur and un froid esprit calculateur. The courtly are therefore those who show the opposite traits, but traditionally they do so à mesure. In the selected fabliaux, the characters acts with passion and emotional excess, privileging freedom and imagination above morality and mesure. These ideas cannot fit comfortably with Courtliness. The characters are victims of other people's narrow-mindedness, imposed through the stories told about them, but they reclaim their lives by taking over these stories. Specifically, they appropriate Latin and vernacular texts to create rôles within the story (Part 1 of the Dissertation), or, by deliberate twisting of words, exaggerate the stories told about them to the point of absurdity (Part 2). The new story becomes a vehicle for the characters' freedom. The imagery of the Song of Songs is used for similar purposes (Part 3), and a version of Scholastic logic is used to structure plots (Part 4). These abuses of 'venerated texts' as enabling texts take these fabliaux very far from Courtliness as traditionally understood, into Neocourtliness. Their libertine attitudes, together with the intellectual demands they make, suggest they arose from a free-thinking tendency within a clerkly milieu. This judgement made, many traits of courtly literature, such as those shown by Iseut and Perceval, can be seen retrospectively as neocourtly. I conclude that, as a genre, neocourtly writings can be seen as analogous to today's Postmodern criticism.
24
Del, Pulgar Manuel-Jesús Moreno García. "La poesía de Nicolás Núńez." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/5199/.
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An exponent of the much maligned form cancionero poetry, Nicolás Núńez was one of the few poets writing in this genre who received some recognition. Some years ago Keith Whinnom produced and edition of Continuación of Cárcel de Amor, Nicolás Núńez's poetic works however remain almost entirely unstudied. The aim of this thesis is to produce a critical study and edition of the poetry of Nicolás Núńez, who epitomises a generation of writers devoted to the game of poetry or the game of love. Exploring this definition of love as a 'courtly pastime', I have sifted the formulaic critical appraisal of courtly love, with the aim of clarifying and revising this critical stand point. In the light of the Herculean effort of Keith Whinnom to bring a breath of fresh air to this rather state field of criticism, the first part of my work, based in 15(^th)C Spain, will seek to define the theme of love in the cancioneros in relation to the theory of love as a play phenomenon, and will proceed to the close examination of a seminal text which reveals the ludic characteristics of this genre. Here I elucidate features essential to an understanding of cancionero poetry, which represents a confluence of three strands: the courtly, the religious and sexual. Unfortunately I have been unable to discover any new details relatives to the identity of Nicolás Núńez. My edition upon his poetic opus which proposes new additions to the canon suggested by Alan Deyermond, precedes my critical study of a poet who represents the final work in a chain of learning originating with the Cancionero de Baena, and who is a magnificent exponent of this highly individual 15(^th)C poetic form. In addition, I have considered issues such as the dating and authorship of LBl. Fundamental to my thesis is the first of the four appendices which make up part three. The remaining appendices are a compilation of previously published texts and critical studies, which provide information germane to the understanding of certain chapters.
25
Cernik, Tessa Madeleine. "Dreams and lovers: the sympathetic guide frame in Middle English courtly love poems." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54598.
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When is a dream not a dream? The Middle English convention of the ‘dream vision’ has been read by modern scholars as a genre that primarily reveals the medieval understanding of dreaming and dream theory, so that events and stories presented within a dream frame are necessarily read through that specific hermeneutic. But what might reading ‘dream visions’ without this theoretical framework do to our understanding of the text? Can removing this default mode of interpretation inspire cross-genre comparisons between narratives that present themes of courtly love? My thesis embraces this ‘genre-blind’ standpoint and traces the development of rhetorical frames through texts of the fourteenth century and into the fifteenth century. Beginning with Chaucer’s Book of the Duchess as a ‘dream vision’, which takes inspiration from the highly popular Romance of the Rose, I move to Lydgate’s two ‘dream visions’ A Complaynte of a Lovers Lyfe and The Temple of Glas, and then finally into the realm of ‘romances’ with Chaucer’s Knight’s Tale, The Tale of Sir Thopas, and the anonymous Squire of Low Degree. All six texts contain a lover’s complaint within their narrative bodies that is uniquely encased by what I have termed the sympathetic guide frame. The progression of this frame from Chaucer’s writings and beyond shows the sympathetic guide frame as an increasingly conventional device in courtly love texts due to its ability to effectively present and intensify emotion. Without the constraints of genre expectations, the modern reader can focus on the literary and emotional importance of a text, guided by a character specifically created by the author to witness a lover’s complaint and then respond emotionally to it. The identification of this kind of development of a rhetorical device would not be possible if one is hesitant to compare any texts that do not share the same genre classification. I advocate for a renewed understanding of ‘dream visions’ as more than just a dream.Arts, Faculty of
English, Department of
Graduate
26
Kendall, Elliot. "The landowner's book of courtly love : languages of lordship and the Confessio Amantis." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399422.
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McIntosh, Shona. "Courtly mirrors : the politics of Chapman's drama." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/726/.
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This thesis argues that the drama of George Chapman (1559-1634) can be read in light of his deep ambivalence towards the political elite of the Jacobean court. It suggests that Chapman’s lack of success in securing courtly patronage, and his constant battle with indebtedness (which resulted in several court appearances and two imprisonments) left him divided in attitude towards the system of courtly reward – he resented his lack of success but continued to struggle to fit in and gain the approval of the powerful figures of the era. I argue that this gave him a critical perspective on many of the important issues of the time. My work examines the configuration of English national identity in his plays, positing an idea of Englishness which is separate from, and often critical of, the monarchy, and which relies on a structural parallel with the French court in order to imagine English identity. It then considers the ways in which money and debt are dealt with in several plays, arguing that Chapman felt deeply concerned by the perennial indebtedness of Jacobean culture but was also aware of the necessity of maintaining his own credibility and supply of credit. It further examines the representation of patronage, suggesting that Chapman saw the soliciting of aristocratic patronage in distinctly sexual terms, almost as a form of artistic prostitution. It then considers the many situations in the plays where royal patronage towards a favourite breaks down, and argues that this often results in allegations of treason which Chapman shows to originate in the paranoia or suspicions of the monarch. Finally, it looks at the concept of virtue in the plays, arguing that Chapman viewed virtue as fundamentally unsustainable in a corrupt court setting, but that he saw some form of engagement in public life as being a moral obligation on the virtuous man. Throughout I argue that Chapman was deeply radical in his social outlook, critical of inherited privilege and government by personal or absolutist rule. The social tensions and political struggles presented in his plays were to find their full expression in the violence of the Civil War and in the trial and execution of Charles I.
28
Barnard, Laura. "Courtly constraints: clothing, gifts and honour in Medieval Romance." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/27890.
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By investigating three texts, namely Chrétien de Troyes' Erec and Enide, Geoffrey Chaucer's "Clerk's Tale", and the anonymous Sir Gawain and the Green Knight, I seek to demonstrate how clothing, honour, gender and gifts shape the experiences of the characters as they find their social place, and disrupt the body as a category on which to base nobility. Although my texts emerge from different social and historical circumstances, the clothing they depict represents similar social transactions of class, gender and honour in the courtly space: ladies are made suitable for marriage through dresses, and a knight is forced to come to terms with the fallibility of his honour through his armour and a girdle. Vital to my investigation is the category of the body, on which Medieval theories of class and virtue were based. Clothing that is frequently used as a constituting symbol of acceptable bodies proves fallible; Enide and Griselda take up royal robes and positions unsuited to their humble origins, and Gawain cannot maintain his honourable manhood when faced with the lure of the life-saving girdle. The characters' divergence from the norms of symbolic representation through clothing alienates the performance of honour from the body, thereby destabilizing bodily superiority (nobility) as a basis for social elevation. Enide and Griselda change their clothing and their social position, but neither woman's translation alters their core characteristics of virtue and goodness. Clothing is physically removable from the body, which poses a challenge for a society so invested in its representative and symbolic power. My investment in clothing as it relates to 'correct' social performance relies on the disjuncture between the characters' natural embodiment of honour and the clothing they receive as gifts. The obligatory reciprocation of gifts takes on the nature of economic transactions, linking clothing to gendered expectations of honour and virtue. Throughout these texts, changeable clothing, whether received as a gift, put on or taken off, demonstrates the heightened attention paid to the rapidly-changing social structure of commercialising society in the high- to late-Medieval era. Removable and improvable, clothing disrupted concepts of class and gender, allowing for greater social freedom in the courtly space.
29
Miller, Susanna Louise. "The character and presentation of the courtly heroine in English medieval romance." Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375964.
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Rincones, Díaz Rosix Emilia. "From Tristan to Don Juan : Romance and courtly love in the fiction of three Spanish American authors." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3408/.
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This thesis is centred on Gabriel García Márquez’s novel El amor en los tiempos del cólera, Álvaro Mutis’ novella La última escala del Tramp Steamer, and Juan Rulfo’s novel Pedro Páramo. Its aim is to analyse how the works of these Spanish American authors are inscribed within the traditions of Tristan, Don Juan and other related stories. Analysis is rooted in three aspects: 1) the study of the language and style conventions in the initial works of romance and courtly love that are developed in the studied works on fiction. 2) It was crucial to see how the authors in question developed paradigms of gender relations through the traditions they borrowed, and 3) how the medieval and renaissance traditions relate to Spanish American literary discourse through matters of similar religious and social contexts, specific traits of Spanish colonization and the presence of medievalisms in modernity. García Márquez’s reinvention of the Don Juan through the alliance narrator-Florentino, Mutis’ depiction of the steamer as a symbol of love and poetry, Rulfo’s portrayal of the lover’s spiritual failure and Susana San Juan’s statements and redemption through her body, show the complexity with which medieval romances have been rewritten in twentieth century Latin America.
31
Moura, Alexandre Rambo de. "Da Liebe à Minne : entre Alcibíades e Da Vinci, Sidonie." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/32011.
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A questão que move este trabalho concerne à relação do sujeito com o amor: por que, para alguns, de forma recorrente, ou para todos, em determinado(s) momento(s), amar não implica demandar amor, demandar a presença do outro, construir e suportar um enlace junto ao objeto de amor, mas parece, justamente, ao contrário, evitar que esse laço se estabeleça? O que está em jogo nesse amor que se sustenta mediante a segurança de um impedimento, de uma distância que prive (e preserve), ao menos em parte, o sujeito, do contato com seu amado. Que elementos sustentam e requerem que o sujeito se coloque a amar, necessariamente, de fora do laço? Aqui não estamos diante da lógica do rodeio como forma de se aproximar e chegar ao amado: nossa interrogação recai sobre o rodeio como fim em si mesmo. A questão desta pesquisa partiu inicialmente da biografia “Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, mas ganhou desdobramento ao dialogar com produções artísticas no campo da poesia, com o arranjo colocado em cena pelo amor cortês e pelo movimento “As Preciosas”. A partir disso, orientados pelo referencial da psicanálise de Jacques Lacan, resgatamos as noções referentes ao amor, à transferência e ao amor cortês. Na seqüência do trabalho, tratamos de dois efeitos relativos ao limite do que pode o sujeito suportar em seu enlace ao Outro: a angústia e a passagem ao ato. Ao fim, passando pelo desejo do Outro, chegamos aos avatares da demanda e da sublimação, indicando aí distinções a partir das figuras topológicas do grafo do desejo, do oito interior e do toro. Nesse percurso, colocamos a psicanálise a trabalhar, com o objetivo de elaborar o paradoxo levantado.The question that drives this essay concerns the relationship of the subject with love: why, for some, on a regular basis, or for everyone, at a particular time(s), love means neither to require love, nor to require the other's presence, nor to build and support a bond with the object of love, but it seems precisely the opposite, to keep that bond from happening? What is at stake in this love that is established by the security of a constraint, by a distance that deprives (and preserves), at least in parts, the subject from contacting his beloved one? Which elements that sustain and claim that the subject puts himself to love, necessarily, out of the bond? Here we are not facing the logic of the deviousness as a way to get closer and get to the beloved one: our question lays down on the deviousness as an end in itself. The question of this research first came from the biography "Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, but it unfolded from the dialogue with artistic productions in the field of poetry, with the arrangement brought to light by the Courtly Love and The Precious movement. Having these fields taken into consideration and, guided by the reference of the psychoanalysis of Jacques Lacan, we recover the notions relating to love, to the transfer and to the Courtly Love. Going further with the work, we deal with two effects of the boundary of what the subject can stand on his bond to the Other: the anguish and the passing to act. In the end, going through the desire of the Other, we came to the avatars of demand and sublimation, indicating then distinctions to the topological figures from the graph of desire, the eight inside and the torus. Along the way, we put psychoanalysis to work, with the goal of developing the paradox raised.
32
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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Montagne, Twyla Dawn. "Paradox of Love." Wright State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=wright1212514785.
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Carnovalini, Giacomo <1990>. "Courtly Love in the Matter of Troy. A study in the tradition of the story of Troilus and Criseyde." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4684.
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Boyce, Liel Y. "Knightly Bird Vows: A Case Study in Late Medieval Courtly Culture." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3134.
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In the late Middle Ages, there was a series of instances wherein knights vowed upon birds. Two of these, the first and the last, are historical events: The Feast of the Swans with Edward I in England on 22 May 1306 and the Feast of the Pheasant with Philip the Good in the duchy of Burgundy on 17 February 1454. Edward I held the Feast of the Swans as part of his son's dubbing ceremony, including the entire court taking vows on two swans. The Feast of the Pheasant was an elaborate banquet that Philip the Good used to gather support for a crusade. The other three are literary texts: the Voeux du paon, the Voeux de l’épervier, and the Voeux du héron. The Voeux du Paon contains an account of a group of nobility connected to Alexander the Great at a truce banquet. One of the prisoners accidentally kills a lady's peacock and the group decides to take vows on it before recommencing battle. The Voeux de l’épervier concerns Henry VII of Luxembourg en route to Italy to claim the title of Holy Roman Emperor. One of his knights accidentally kills a sparrowhawk and they decide, as a court, to take vows on it. Lastly, the Voeux du héron depicts Robert d' Artois inciting Edward III to initiate the Hundred Years' War over a heron. Each of these instances creates a sub-set, the bird vow cycle, within medieval vowing tradition. The origin of the bird vow cycle lies within that vowing tradition. John L. Grigsby has declared these instances as a crystallization of the gab convention of medieval literature. However, Grigsby ignored the Feast of the Swans and the Feast of the Pheasant since he was concentrated on defining a literary genre. This thesis attempts to show the bird vow cycle as connected this this literary tradition, but also a crystallization of the courtly culture that had developped in the late Middle Ages. It also attempts to show the origins of this cycle—it not only came out of a vowing tradition, but also is tied to King Arthur traditions. The culture of the late Middle Ages was nostalgic and looking back towards an idealistic version of the past—whether in legends like Arthur or historical figures like Alexander. Thus, the knightly bird vow cycle was a particular example of that fantasy in their culture. In conclusion, this thesis not only gathers together what literature there is on the knightly bird vow cycle, but it places it within a literary and historical context. The knightly bird vow cycle would not have been possible without a culture obsessed with fantasy and idealistic courtly culture.
36
Parrish, Leslie. "Love and Low Serotonin." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/371.
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The following is a novella that depicts a young man and woman in search of differing goals, but the essence of their goals does have something in common: each of their pursuits, if obtained, allows for self-control and recovered lifestyle. However, their lives are far from average throughout the story. Themes such as bulimia, drug use, loveless sex, voyeurism, lucid dreaming and emergency room healthcare are explored in the form of fiction. Both of the main characters in this story explore their world with a measure of obsession, and like any worthy character, their obsessions transform into decisions and actions that highlight aspects of society and psychology; in this case it is American college culture and youthful minds. It is up to the reader to become an explorer also. S/he may turn the pages with an objective mind, or with a sympathetic one. Either will be presented with the same questions: questions concerning self-image, companionship, healthcare socioeconomics, and deviant behavior.
37
Pekkarinen, Anu. ""Minnecllîche Meit" vs "Tíuvelés WIP" : increasing female property rights and the courtly contradictions manifested by the figure of Brünhild /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422950.
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McCullough, Eleanor G. ""Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.
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Klassen, Norman John. "Chaucer on love, knowledge, and sight." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356989.
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Lorsung, Éireann. "Love : an approach to texts." Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/27889/.
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This dissertation responds to the question, "What would it be like, what would it mean, to approach texts lovingly?" in terms of the work of 20th-century theorists, writers, and thinkers such as Jacques Derrida, Roland Barthes, Luce Irigaray, Helene Cixous, Gilles Deleuze and Felix Guattari, Brian Massumi, Jean-Luc Marion, E. E. Cummings, Rainer Maria Rilke, Teresa Brennan, and W. J. T. Mitchell. In order to demonstrate the appropriateness and place of love in the philosophical canon, the dissertation combines a consideration of affect with these writers' work. Beginning with an exemplary reading of Cy Twombly's painting The Ceiling, the then dissertation adapts Mitchell's question "What do pictures want" to an approach to texts, as defined with reference to Barthes. An introduction and literature review trace the places love in texts by Plato, Freud, Lacan, Cixous, and a host of writers who fall under the rubric of 'affect theorists'. Because an approach to texts is the dissertation's focus, a chapter is spent discussing the possibilities for deconstruction to be part of such an approach. Derrida's work is constellated with that of Cixous, Irigaray, Marion, and Brennan in order to emphasise the integrity of sensory and affective information to such an approach. The writing of Rilke and Cummings provides examples of an authorial approach to texts that can inform a readerly one, and serves to further expand the canon of texts that suggest the possibility of this approach. The final chapter is a second exemplary reading of the story of Moses and the burning bush. Deliberately aiming to stretch the expectations of scholarly work, I combine the anecdotal, the affective, and the textual as modes of engaging with and ways of knowing about love.
41
Vong, Mony S. "Ordinary love| A collection of short stories." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523256.
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Women these days play many different roles. One could say that it is the sign of the time but despite the advances that our foremothers had made, the women of this decade are working harder than ever. In this collection of stories, the protagonist is one of these modern women, and she goes through many stages of her life. In her quest for a peaceful place in an often violent, unpredictable, and sadistic world, she faces many challenges; and she finds that love, sex, betrayal, fear, and desire are inevitably the basis for any friendship, whether platonic or romantic. Two of the stories, "The Neighbor-woman on the Balcony" and "The Love of Men and Women" are part of a cycle. The rest of the collection, are stand-alone pieces, but they are intrinsically connected by mature, ordinary love.
42
Al-Shalabi, Marwa. "Caroline love poetry and the Renaissance tradition." Thesis, Bangor University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.331953.
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Leffert, Carleigh. "The chivalric Gawain." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002257.
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Lee, Sun-Hee. "Love, Marriage, and Irony in Barbara Pym's Novels." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332613/.
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In my study on Barbara Pym's novels, the focus is first on the two basic ironies in love-marriage relations: irony of dilemma in which marriage is seen as the end of romantic love; and irony of situation in which excellent but plain-looking women are deprived of the chance to express their basic need for love. Chapter I of this study introduces the major themes and ironies in Pym's novels and the nature and functions of her irony. The following six chapters examine the two major ironies in six of Pym's twelve novels: Some Tame Gazelle, Excellent Women, Jane and Prudence, Less Than Angels, A Glass of Blessings, and A Few Green Leaves. While discussing the uniqueness of each of Pym's heroines, I also explore how Pym underwent changes in her views of love and marriage and how she attempted to keep a balance between her romanticism and her sense of irony. Pym's other six novels are discussed in Chapter VIII, the concluding chapter.
45
Russo, Valeria. "Archéologie du discours amoureux : prototypes et régimes de l’amour littéraire dans les traditions galloromanes médiévales." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL040.pdf.
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Dans cette thèse, nous offrons des hypothèses herméneutiques et un modèle méthodologique visant à l’éclaircissement et à l’élargissement des perspectives s’étant figées autour de la définition-notion d’amour courtois. À l’univocité des théories et au canon liés à cette notion, le présent travail substitue un plan d’analyse plus ample, celui du discours amoureux galloroman : les marges d’un tel objet sont ouvertes à toutes les expressions et représentations érotiques de matrice laïque. Les possibilités hétéroclites du discours amoureux, qu’il est fondamental de considérer comme un ensemble idéologique, culturel et littéraire, sont soumises à une analyse visant à offrir un cadre interprétatif à la fois particulier et général. Afin de réévaluer les fondements de cet objet, notre enquête fait collaborer différents plans critiques et chronologiques : la phase exégétique de cette étude, supportée par l’analyse philologique des textes, s’accompagne de l’étude stylistique et rhétorique des textes. Ce travail procède selon les étapes suivantes : l’identification des motifs et des thèmes génératifs (noyaux de fond) a été suivie par la construction d’un répertoire de prototypes du discours amoureux et par l’étude de leur diffusion selon les époques et les lieux. Cette opération a été supportée par la périodisation du discours amoureux en trois phases distinctes, au sein desquelles le code expressif s’est fixé : dans le Midi, d’abord, dans le Nord de la France et, enfin, dans les réalités urbaines septentrionales et à travers la réception néo-curiale du troisième quart du XIIIe siècleThe aim of this thesis is the elaboration of hermeneutic explanations and a methodological model which allow the clarification and the broadening of traditional perspectives which have formed around the concept of “courtly love”. In order to counteract the univocity of existing theories and to cast fresh light on the canon associated with this notion, this work offers a broader scope of analysis: that of Gallo-romance amatory discourse. The object as it is defined here embraces all its expressions and erotic secular representations. The heterogeneous nature of amatory discourse, which it is essential to consider as an ideological, cultural and literary entity, is subjected to an analysis based on an interpretative framework which is both general and particular. In order to re-evaluate the very foundations of this object, our investigation makes use of various critical approaches and chronological aspects: the exegetical phase of this study, founded on the philological analysis of the texts, is completed by a stylistic and rhetorical analysis. The structure of the work is as follows: the identification of the underlying motifs and themes (noyaux de fond) is followed by the construction of an inventory of prototypes of amatory discourse and by the study of their chronological and spatial diffusion. This procedure is legitimized by the identification of three distinct phases which saw the elaboration and consolidation of the expressive code: this occurred first in southern France, then in the north, and, finally, in the northern urban centres and through the neo-courtly reception which characterized the third quarter of the 13th century
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Quintanilla, Octavio. "Love Poem with Exiles." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.
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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.
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Spicer, Alyssa. "How Love is Like Drowning." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/179.
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This thesis contains the first two acts of a novel about a young girl named Isabeau Jones. After the mysterious drowning death of her mother, Isabeau attempts to find her place as a girl, as a student, as a preternaturally gifted baseball player and as an outsider in a rural East Texas community that does not look kindly on difference. Throughout the novel, Isabeau attempts to negotiate what it means to be female, academically ambitious, physically active and independent in a rural life that does not encourage such qualities in girls. While she navigates her tumultuous relationships with the men in her life, Isabeau also learns more and more about her mother and, eventually, she discovers for herself the kind of woman she can and wants to become.
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Kelly, Michael. "Jealousy in love relations in Greek and Roman literature /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18555.pdf.
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Tillier, Monica. "Un traité d’amour tardif : le Précis des martyrs d’amour de Muġulṭāy." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20051.
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Dans la littérature arabo-islamique médiévale, le thème de l’amour a été traité par un grand nombre d’ouvrages en prose. Un véritable genre littéraire des traités d’amour courtois s’est développé à partir du IIIe/IXe siècle. Si les débuts et l’“âge d’or” du genre ont déjà fait l’objet d’études, ses développements tardifs demeurent encore inexplorés. Le Wāḍiḥ al-mubīn fī ḏikr man ustušhida min al-muḥibbīn, écrit par Muġulṭāy (762/1361), présente à ce titre des caractères originaux. A travers l’analyse littéraire de ce texte, il apparaît en effet que le Wāḍiḥ, tout en s’appuyant sur le patrimoine littéraire sur l’amour courtois qui le précède, se fait porteur d’une conception tout à fait nouvelle du Ýišq (amour-passion) ainsi que d’une théorie originale du martyre par amour. Par les déclarations mêmes de son auteur, de même que par sa structure et par son contenu, l’ouvrage se présente comme un manuel de comportement à suivre. La conception de l’amour que l’ouvrage sous-tend constitue donc un véritable tournant dans l’histoire du genre. Le Wāḍiḥ est le seul ouvrage de ce type à avoir été censuré. Les raisons de l’hostilité que l’ouvrage a rencontrée auprès des autorités mameloukes sont à rechercher dans la “théorie de l’amour” prônée par Muġulṭāy. Elle ne se dégage pas seulement de sa longue introduction, mais transparaît aussi dans la comparaison entre les notices du Wāḍiḥ et celles d’autres ouvrages du patrimoine arabo-islamique médiéval. Tout en rapportant des aḫbār très connus, Muġulṭāy réussit à les refondre de manière novatrice. Il présente ses histoires d’amour et de mort comme matière à édifier ses lecteurs. Le comportement des amants mentionnés dans le Wāḍiḥ, qu’ils soient les victimes de l’amour profane (hétérosexuel ou homosexuel) ou de l’amour de Dieu, est toujours présenté comme exemplaire. Ses martyrs deviennent dès lors des modèles de conduite à suivre par tout bon musulmanIn medieval Arabic Islamic literature, the topic of love was treated in a quite big number of prose works. A true literary genre of courtly love treatises started to develop from the 3rd/9th century. While the first period and the “golden age” of this genre have already been quite intensely studied, its later development remains still unexplored. The al-Wāḍiḥ al-mubīn fī ḏikr man ustušhida min al-muḥibbīn written by Muġulṭāy (762/1361), even though it has its place among the treatises of this genre, has its own special features. The analysis of the text shows that, even if it is based on the traditional literary background of courtly love, the Wāḍiḥ defends a very new notion of passionate love and an original theory of martyrdom of love. Muġulṭāy presents his work as a handbook of good behaviour. A confirmation of this intention is to be found in the structure and the content of his treatise. Muġulṭāy’s approach of courtly love represents then a real turning point in the history of the gender. The Wāḍiḥ is the only courtly love treatise that has been censored by political and religious authorities. The reasons of the interdiction that has stricken the book are probably to be sought in Muġulṭāy’s theory of love. The author explains his theory’s main features in the introduction, but also in lover’s stories as the comparison between the aḫbār in the Wāḍiḥ and others books of Arabic literature shows. Even if the stories are very well known and have been told again and again, the fact that Muġulṭāy is presenting his histories like edification matter for his reader changes them in something really new. No difference is made between his lovers who can be the victims of God love as well as of profane love (heterosexual or homosexual). They are all martyrs and became the models of the behaviour that has to be followed by every good Muslim
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Papanghelis, T. D. "Propertius : A Hellenistic poet on love and death." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372281.
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