Dissertations / Theses on the topic 'Encyclopedia, history'

Since the inception of printing in Europe in the fifteenth century, encyclopedias have become popular and widespread all over the continent. During the eighteenth century, dictionaries and other knowledge-communicating books constituted a major part of the book market, thereby defining everyday knowledge, including information about the entire world that was cultivated by periodicals and travel logs. Encyclopedias, from the very beginning, have been a varied genre owing to the assorted knowledge produced for different books, which depends on the subject, the target audience, the scope, and the price. General encyclopedias could amount to several volumes, sometimes more than ten, while more specific dictionaries usually comprised only one or two volumes. During the eighteenth century, many encyclopedic works were adapted for different audiences, resulting in many books being translated. This distribution of encyclopedias helped to build the European culture of knowledge we witness today, in which encyclopedias are still a major source of information.

Since the inception of printing in Europe in the fifteenth century, encyclopedias have become popular and widespread all over the continent. During the eighteenth century, dictionaries and other knowledge-communicating books constituted a major part of the book market, thereby defining everyday knowledge, including information about the entire world that was cultivated by periodicals and travel logs. Encyclopedias, from the very beginning, have been a varied genre owing to the assorted knowledge produced for different books, which depends on the subject, the target audience, the scope, and the price. General encyclopedias could amount to several volumes, sometimes more than ten, while more specific dictionaries usually comprised only one or two volumes. During the eighteenth century, many encyclopedic works were adapted for different audiences, resulting in many books being translated. This distribution of encyclopedias helped to build the European culture of knowledge we witness today, in which encyclopedias are still a major source of information.

Eine Gesamtdarstellung dessen, was man früher "Realenzyklopädien" nannte, ist jedoch bis heute nicht versucht worden – die Vielfalt der hier versammelten Wissensmaschinen zeigt vielleicht, warum. Die Kultur des Wissens in der Frühen Neuzeit war erheblich komplexer, als das die Annahme von der sich entwickelnden frühmodernen Rationalität oder die Unterstellung eines "Willens zum Wissen" erklärbar machen kann. Auch die Autoren stehen darum gegenüber den Büchern zurück, die als Wissensmaschinen verstanden und in ihrer enzyklopädischen Leistungskraft befragt werden: Was kann der Leser damit anfangen? Welche Welt wird ihm erschlossen? Was kann er daraus mitnehmen? Von den Autoren wird hier die Erklärung des Buches nicht versucht. Freilich gibt es leidenschaftliche Enzyklopädisten wie Gesner im 16., Bonanni im 17. oder Scheuchzer im 18. Jahrhundert. Weil der Einblick in diese spezielle Art von Büchern aber nur eine Auswahl sein kann – wie exemplarisch auch immer –, wird die Geistesgeschichte hier der Buchgeschichte nachgeordnet. Was Bücher können, das ist die Frage, und nicht, wer welche Ideen hatte.

In mid-eighteenth century Paris, two Benedictine monks from the Congregation of Saint-Maur – also known as the Maurists – started compiling a universal dictionary of arts, crafts, and sciences. The project was initiated simultaneously with what would become one of the most famous literary enterprises in Western intellectual history: the Encyclopédie of Diderot and d’Alembert. The latter started as an augmented translation of Ephraim Chambers’s Cyclopaedia, but it was constructed with another French dictionary as its ideological counterpart: the Jesuits’ Dictionnaire de Trévoux. While the Encyclopédie eventually turned into a controversial but successful best-seller, considered as the most important medium of Enlightenment thought, the Benedictines never finished or published their work. After a decade, the manuscripts were put aside in the monastery library, and were soon forgotten. For about two hundred and sixty years, the Maurists’ dictionary material has largely escaped the attention of researchers, and its history of production has been unknown.      This dissertation examines the history and characteristics of the Maurists’ enterprise. The manuscripts are compared to the Encyclopédie and the Dictionnaire de Trévoux, and the project situated within its monastic environment of production, the history of the encyclopedic dictionary, and the Enlightenment culture. The study has an interdisciplinary character and combines perspectives of History of Science and Ideas, History of Monasticism, History of Encyclopedism, and History of the Book. The research procedure is distinguished by a microhistorical approach, where the studied materials are analyzed in a detailed manner, and the research process included in the narrative.       The dissertation shows that the Maurists early found themselves in a rival situation with the embryonic Encyclopédie, and that the two projects had several common denominators that distinguished them from the predecessors within the genre. At the same time, the Maurists were making a dictionary unique in the eighteenth century, which assumed a third position in relation to the works of the encyclopédistes and the Jesuits. The study provides new perspectives on the Encyclopédie of Diderot and d’Alembert, the intellectual activities of the Congregation of Saint-Maur, as well as the editor in charge of the Maurist dictionary: Dom Antoine-Joseph Pernety, otherwise known for his alchemical writings.

Eine Gesamtdarstellung dessen, was man früher "Realenzyklopädien" nannte, ist jedoch bis heute nicht versucht worden – die Vielfalt der hier versammelten Wissensmaschinen zeigt vielleicht, warum. Die Kultur des Wissens in der Frühen Neuzeit war erheblich komplexer, als das die Annahme von der sich entwickelnden frühmodernen Rationalität oder die Unterstellung eines "Willens zum Wissen" erklärbar machen kann. Auch die Autoren stehen darum gegenüber den Büchern zurück, die als Wissensmaschinen verstanden und in ihrer enzyklopädischen Leistungskraft befragt werden: Was kann der Leser damit anfangen? Welche Welt wird ihm erschlossen? Was kann er daraus mitnehmen? Von den Autoren wird hier die Erklärung des Buches nicht versucht. Freilich gibt es leidenschaftliche Enzyklopädisten wie Gesner im 16., Bonanni im 17. oder Scheuchzer im 18. Jahrhundert. Weil der Einblick in diese spezielle Art von Büchern aber nur eine Auswahl sein kann – wie exemplarisch auch immer –, wird die Geistesgeschichte hier der Buchgeschichte nachgeordnet. Was Bücher können, das ist die Frage, und nicht, wer welche Ideen hatte.

Esta dissertação discute o verbete Geografia Física, elaborado por Nicolas Desmarest e publicado na Encyclopédie de Diderot e DAlembert em 1757, o qual apresenta uma proposta de se fazer e pensar Geografia diferente das interpretações comumente aceitas pela História da Geografia para o pensamento geográfico do século XVIII. Elaborado pelo homem de letras Nicolas Desmarest, no seio do Iluminismo e do enciclopedismo francês, este trabalho analisou o verbete no contexto deste movimento e das tradições científicas que teorizaram a Terra e seus fenômenos na primeira metade do século XVIII. Diante da discussão realizada, constatou-se a existência de uma legítima Geografia teorizada pelas Luzes e propagada pela Encyclopédie, bem como o papel central assumido por Nicolas Desmarest para o desenvolvimento deste saber. Além disso, revelou a existência de uma importante controvérsia científica entre a Geografia Física e a Teoria da Terra, a qual foi debatida por Nicolas Desmarest e Buffon no limiar do nascimento das chamadas Geologia e Geografia modernas.<br>In this work we discuss about the article Physical Geography, that was created by Nicolas Desmarest and published in the Diderot and DAlemberts Encyclopedia in 1757. The article introduced a proposal to do and to think Geography different from what is commonly accepted by the History of Geography to the 18th century geographical thought. It was elaborated by the man of letters Nicolas Desmarest, in the middle of the Enlightenment and the French encyclopedism. This work analyzed the article in the context of this movement and in the scientific traditions that theorized the Earth and its phenomena in the 18th century first half. In front of this discussion, we noted the existence of a genuine Geography theorized by the Enlightenment and propagated by the Encyclopedia, which Nicolas Desmarest assumed a central position to the development of this knowledge. Furthermore, this work revealed an important scientific controversy between the Physical Geography and the Theory of the Earth that was discussed by Nicolas Desmarest and Buffon, in the dawn of so-called modern Geology and Geography.

Made available in DSpace on 2016-04-28T14:16:16Z (GMT). No. of bitstreams: 1 Marcia Cristina Otaviani.pdf: 608442 bytes, checksum: 6c7ed43d487fe9f7600f8083734e76b0 (MD5) Previous issue date: 2012-10-20<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Jeremy Bentham (1748-1832) was an English philosopher who lived during the eighteenth and nineteenth centuries, a period when major events occurred in the world, not only on philosophical grounds, but also in economic and apart from being entitled as the "founder" utilitarian school, and suggest new ideas about moral issues and legislation, Bentham also brought new perspectives and solutions to issues such as education. In the book named Chrestomathia, Bentham exposes your beliefs about how teaching should be done in a standard school, the School Chrestomathia as its name. The main function of the school would be to promote greater quantity and better quality of knowledge and, consequently, wellness for all involved. It is in this work that he presents he believed to be the more correct way to categorize and divide the different areas of knowledge. In this work we aim to show how the Tree of Knowledge that he proposed is built, showing the intimate connection with teaching, and also trying to analyze the ideas behind their proposals, as well as the criticism that the author makes to the current way of classifying the human knowledge<br>Jeremy Bentham (1748-1832) foi um filósofo inglês que viveu durante os séculos XVIII e XIX, em um período em que grandes acontecimentos ocorreram no mundo, não só no campo filosófico, mas também no econômico, e além de ser apresentado como o fundador da escola Utilitarista, e de sugerir novas idéias para assuntos sobre moral e legislação, Bentham buscou, também, trazer soluções e novas perspectivas para assuntos como educação. No livro Chrestomathia, Bentham expõe suas convicções sobre como o ensino deveria ser feito em uma escola padrão, a Chrestomathia School, conforme sua denominação. A principal função da escola seria a de promover a maior quantidade e melhor qualidade de conhecimento e, em conseqüência, de bem-estar para todos os envolvidos. É nessa obra que Bentham apresenta o que acreditava ser a maneira mais correta de categorizar e dividir as diferentes áreas do saber. Nesse trabalho de Doutorado procuraremos mostrar a maneira como está construída a Árvore do conhecimento de Bentham, proposta numa íntima ligação com o ensino, buscando analisar as idéias por trás de suas propostas, bem como as críticas que o autor faz à maneira vigente de classificar o conhecimento humano

The "encyclopedic imagination" describes an artist's conviction that a work of art must be expansive and inclusive to a point of total embodiment. The artist (or dramatized artist figure) implies that the work of art must give a total account not only of the subjective life of the artist but of the reality to which the representing self responds. The focus of this study is not on any work's encyclopedic achievement (for the artist's inclusive ideal always remains well outside the actual capacity of the work), but on the relationship of the ideal of aesthetic all-inclusiveness to a problematic ideal of encompassing selfhood for the representing personality.<br>Following an introduction that establishes modern and postmodern conceptions of the notion of aesthetic totality, this dissertation describes, in six Canadian works, the (untenable) radicalization of the self through the "encyclopedic" ideal. Chapter one considers Ernest Buckler's The Mountain and the Valley (1952) and notes that the protagonist's drive towards total representation is costly to his sense of authentic temporality. Chapter two identifies "total embodiment" as the governing poetic principle of P. K. Page's The Hidden Room (poems c.1942-1997), and suggests the relation of this ideal to Page's apparent creative crisis. Chapter three examines the ethics of all-inclusive representation in Leonard Cohen's Beautiful Losers (1966) and argues that the novel's vision of the world incorporated into a single body is a reflection of both the totalitarian politic of One Man and of apocalyptic-beatific "total identity." Chapter four looks at Margaret Atwood's Cat's Eye (1988) in terms of the trope of the "perverse museum" in Atwood's oeuvre. The novel's treatment of representation as exhibition figures identity as a matter of insatiable demonstration. Chapter five considers the "life-long" poems of Louis Dudek (Continuation c.1971-2001) and bpNichol (The Martyrology 1967-1988) as particularly marked cases of works that must continue until they have enfolded a coherent world-view into an all-encompassing subjectivity.<br>Each chapter stresses the counterintuitive quality of the "encyclopedic" ideal and demonstrates that a total yet coherent representation of the world seems inversely proportional to a coherent yet total representation of the self.

Book Summary: Spanning three volumes, this comprehensive encyclopedia of over six hundred entries covers the full range of civil rights and liberties in America from the antecedents of the Bill of Rights through the most recent controversies over political and social issues, including abortion, free speech, religious liberty, voting rights, and the guarantees of equality. It also addresses the civil rights and liberties issues stemming from America's ongoing war on terrorism. Detailed entries include key concepts, historical events and developments, major trials and appellate court decisions, landmark legislation, legal doctrines, important personalities, and key organizations and agencies. Entries have an objective tone, allowing readers to draw their own conclusions. Designed as an up-to-date reference source for students, scholars, and citizens, the encyclopedia will help broaden and heighten understanding and appreciation for the wide range of issues associated with civil rights and liberties in the United States, and is the most sophisticated treatment available. The volumes of the encyclopedia consist of original entries, arranged alphabetically, on many current hot-button issues as well as in-depth coverage of the rights Americans hold sacred. Written by experts in the field, including attorneys, judges, and legal scholars, the encyclopedia takes a historical-legal approach, providing important information on the background and development of an issue or event. The third volume concludes with over three dozen essential primary documents, including landmark statutes, key court decisions, and influential essays.

The use of encyclopedias has since their entry in Sweden, played a central role in communicating and defining knowledge to society. This essay examines the representation of peoples (race) in Africa, Asia and the Orient in encyclopedias between 1845-2020. The essay aims to explain and show how several selected concepts have changed in the encyclopedias’ descriptions over time in Sweden. The results show that the encyclopedias were highly influenced by racial biology and scientific racism the further back in time the encyclopedias were issued. People from Africa, Asia and the Orient were described with external characteristics and at times associated with different psychic characteristics. Through the representation of appearance, at times presented as different and foreign, one can see a construction between “we” and “the others”. The encyclopedias also made descriptions of people with generalizing derogatory concepts that were imbued by racism and dogmatic views on the different. Descriptions of peoples appearance and character traits were something that gradually disappeared over time.

Made available in DSpace on 2016-04-28T14:16:15Z (GMT). No. of bitstreams: 1 Catarina Justus Fischer.pdf: 4541087 bytes, checksum: da705d458bc92d85ab6ba2890e987c03 (MD5) Previous issue date: 2012-05-23<br>Johannes Heinrich Alsted (1588-1638), a Calvinist scholar from Hesse, which at that time was a part of the Holy Roman Empire was the reputed author of Encyclopaedia Septem Tomis Reserata. Due to the singular historical context within which his life and works developed, he was taught by several important theologians, philosophers, linguists and mathematicians belonging with the German-Calvinist contemporary network. Nevertheless, he appealed to the Aristotelian tradition, Raymond Lull and Petrus Ramus as main sources to build his own method for a systematic approach to knowledge. Since his main concern was with pedagogy, Alsted s method sought to make learning easier, and for this purpose he appealed to the concept of encyclopedia. The present study analyzes the multiple sources employed by Alsted to elaborate a Tree of Knowledge of his own, and the fundamental epistemic and methodological principles that underpin a project that culminated in the renowned Encyclopaedia. Special attention was paid to the section on music taken as study case, in order to understand better the internal structure as well as the historical-scientifically determinants of this extraordinary work<br>Johannes Heinrich Alsted (1588-1638), um estudioso calvinista de Hesse, situado no então Sacro Império Germânico, é o reconhecido autor de Encyclopaedia Septem Tomis Reserata. Em função do peculiar contexto histórico em que se desenvolveu sua vida e sua obra, foi discípulo de importantes teólogos, filósofos, linguistas e matemáticos da rede germânico-calvinista da época. Apesar disso, para a construção de um método próprio de abordar o saber de modo sistemático, tomou como suas principais fontes obras aristotélicas, assim como as de Raimundo Lullio e de Petrus Ramus. Tendo a pedagogia como sua meta principal, o método desenvolvido por Alsted visava facilitar o aprendizado e, para tanto, valeu-se do conceito de enciclopédia. O presente estudo busca analisar as múltiplas fontes utilizadas por Alsted na elaboração da sua própria árvore do conhecimento , assim como os princípios epistêmicos e metodológicos que subjazem esse projeto, o qual culmina na célebre Encyclopaedia. Destaque especial foi dado à música, enquanto estudo de caso, de maneira a compreender melhor tanto a estrutura interna, quanto as motivações histórico-científicas dessa obra magna

This dissertation explores the emergence of a golden age of Arabic encyclopaedic literature in the scholarly centers of Egypt and Syria during the Mamluk Empire (1250-1517). At the heart of the project is a study of Shihāb al-Dīn Aḥmad b. ʿAbd al-Wahhāb al-Nuwayrī’s (d. 1333) Nihāyat al-arab fī funūn al-adab (‘The Ultimate Ambition in the Branches of Erudition’), a 31-volume encyclopaedic work composed at the beginning of the 14th century and divided into five parts: (i) heaven and earth; (ii) the human being; (iii) animals; (iv) plants; and (v) the history of the world. My study examines the formal arrangement, thematic contents, and codicological features of this seminal work, arguing that the rise of encyclopaedism in this period was emblematic of a certain intellectual ethos, a systematic approach to the classification of knowledge which emerged in the discursive context of a rapidly centralizing imperial state. I argue that the Nihāya grew out of an amalgam of several genres (including the adab anthology, the cosmographical compendium, the chancery scribe manual, the dynastic chronicle, and the commonplace book), developing into a new form and serving a different purpose from its literary predecessors. Such texts, long considered tokens of intellectual and cultural decadence, demonstrate the strategies used by Mamluk religious scholars, chancery scribes, and littérateurs to navigate an ever-growing corpus of accumulated knowledge<br>Near Eastern Languages and Civilizations

Another time. Definitions of time in French encyclopedias, 1690-1835 The point of departure for this study is the common conception that the idea of time became "modern" in the late 18th century, meaning among other things a new, future-oriented and empowered individual. Such a view has been expressed by scholars like Lynn Hunt, Lucian Hölscher, François Hartog, Dan Edelstein as well as Reinhart Koselleck. This thesis investigates whether such a transformation is visible in eight French encyclopedias, published between 1690 and 1835. Definitions of time-related key-words are studied from a perspective of conceptual history and discourse analysis. The result of the study indicates a change in the notion of time. However, this change does not concur with the presumed breakthrough of "modernity". The dominant change is rather words that disappear during the period. The study argues that the dichotomy of time versus eternity was questioned, which changed the expectations. Definitions eventually turned away from a predetermined future, however they did not include an individual freedom to act. A new temporal consciousness is visible with the update of history, as pointed out by Koselleck. Mythology was mocked when definitions underlined rationality. The texts substituted religion with science. Diversity between individual definitions is visible mostly during the middle of the 18th century. Finally, the study discusses a possible time lag for encyclopedias used as witnesses of a discourse.<br>Autres temps. Les définitions du temps des encyclopédies françaises, 1690-1835 La notion de temps au sens moderne semble avoir pris forme vers la fin du 18e siècle. Cette conception du temps comme « moderne » implique entre autres choses que l'homme est conscient de la dimension temporelle, et de sa liberté de créer son propre avenir. Depuis les années 1960, plusieurs penseurs, dont François Hartog, Lynn Hunt, Lucian Hölscher, Dan Edelstein et Reinhart Koselleck, ont abordé ce décalage de la dite notion. Dans cette thèse sont examinés les changements de la notion du temps à travers les définitions de huit encyclopédies publiées entre 1690 et 1835. Au 18e siècle, les dictionnaires et les encyclopédies jouaient un rôle important quant au savoir et à la maitrise de la langue. Les analyses des définitions sont conduites à la lumière des théories conceptuelles et discursives. Les résultats de l'étude, dont le matériau s'étend sur 150 ans, confirment un changement de la notion de temps mais non pas celui dont a parlé la recherche antérieure. Les définitions témoignent d'un certain nombre d'effacements et de substitutions de différentes parties des textes. Les textes semblent avoir été plus homogènes au début et à la fin du 18e siècle et plus hétérogènes au milieu du même siècle. Les références religieuses s'y sont souvent substituées à des textes provenant des sciences naturelles, comme par exemple la mécanique. Successivement, les explications mythologiques étaient qualifiées de purs « mythes ». La dichotomie temps—éternité est remise en question et commence à disparaître. Selon d'autres chercheurs dans ce domaine, cela signifie une des conditions d'un futur non prédéterminé. Cependant, même au début du 19e siècle, les définitions parlent d'un futur contingent et non d'un homme maître de son propre futur. Pendant cette période (1690-1835), il y a aussi eu lieu un changement dans la façon de concevoir la notion d' «histoire », un phénomène qui a été souligné par Koselleck. Ce changement semble avoir entrainé une nouvelle conceptualisation de la temporalité. Dans la thèse sont discutées les encyclopédies comme étant des sources scientifiques et la possibilité d'un « time lag » dû aux définitions comparées au discours où celles-ci sont produites. Les résultats montrent l'introduction apparemment tardive d'un nouveau discours.<br><p>Masterprogram i historiska studier, inriktning idéhistoria</p>

En el meu treball d'investigació analitzo l’estudi sobre la literatura universal de l’abate Joan Andrés i Morell (1740 Planes, Alacant – 1817, Roma), comprès en la seva magna obra: Dell’origine, progressi e stato attuale d’ogni letteratura (1882-1899). Es tracta d’una obra historiogràfica que esdevé una recopilació crítica del coneixement humà i dels principals inventors, creadors i investigadors que han destacat fins al segle XVIII. La repercussió d’aquesta obra és cabdal en vida de l’autor a l’Europa Occidental, però cau en l’oblit immediatament després de la seva mort i durant tot el segle XIX. No és fins a la segona meitat del segle XX que es comença a recuperar lentament el seu estudi. El meu objectiu principal ha estat caracteritzar el cànon particular d’Andrés, que no es formula explícitament sinó que emergeix de l’anàlisi de la seva obra enciclopèdica. En la valoració de les obres literàries, dels escriptors i en general dels diferents períodes culturals, l’escriptor valencià aplica un cànon que és essencialment il·lustrat i, per tant, lligat tant a la tradició estètica neoclassicista com als principis racionalistes i empiristes, sobre els quals s’erigeix la Il·lustració. M’ha interessat especialment la seva aplicació a les tres èpoques que conformen l’Edat Moderna: el Renaixement, el Barroc i la Il·lustració. Per tal d'entendre el seu pensament literari he analitzat també l’estudi que desenvolupa sobre algunes literatures precedents, especialment la grega i romana d’època clàssica, i dues literatures medievals, l'àrab i la catalano-provençal —entesa com una sola literatura. Aquest treball inclou també un breu estudi dels apunts d’Andrés sobre literatures llunyanes com l’escandinava, la xinesa, l’índia i la jueva. La sistematització que he efectuat de les seves valoracions literàries va precedit d’una explicació dels conceptes principals que vertebren la seva crítica literària: l’enciclopedisme, el comparatisme, la idea de progrés, la relació entre religió i literatura en la seva obra i la descripció del cànon neoclàssic, que m’ha permès permet definir la naturalesa del seu cànon particular. Joan Andrés esdevé precursor dels estudis comparatistes. En el meu treball he pretès establir les similituds i sobretot les diferències principals entre l’enciclopedisme francès i Dell’origine. Aquesta comparació abasta àmbits diversos com la religió, l’epistemologia o la refutació d’algunes de les bases que sustenten l’hegemonia cultural francesa, com per exemple el concepte de progrés. En un moment en què a Europa triomfa l’esperit enciclopedista de la Il·lustració, la recopilació d’informació va acompanyada d’una interrelació de tot el saber. El mètode comparatista de Joan Andrés és de gran interès perquè posa en relació gran nombre de termes de comparació. La valoració de les obres i dels autors s’estableix des de tres marcs comparatius: el gènere literari, l’època i la nacionalitat. L'escriptor és avaluat tenint en compte el propòsit essencial de la literatura des de l'òptica il·lustrada: la instrucció i el gaudi. Andrés demana la conjunció d'aprenentatge i d'entreteniment, seguint la lectura canònica d'Horaci, però els seus comentaris revelen una interpretació diferent: el plaer és l'eina indispensable per arribar a la instrucció, que esdevé l'objectiu principal de la literatura perquè està vinculada a la idea il·lustrada de progrés. Al mateix temps relaciona el gaudi no només amb la diversió sinó amb l'efecte d'emocionar el públic o el lector, una idea que està en consonància amb la importància que es concedeix a les emocions i al receptor en la teoria literària de la segona meitat del segle XVIII. El prestigi que mantenen els escriptors entre els crítics il·lustrats i la influència que han exercit en la història literària són factors que incideixen també en la seva valoració. A partir d’aquest plantejament he pogut establir el seu sistema de valoració i constatar les qualitats que considera essencials d’una obra literària, que he examinat en funció dels gèneres i de les literatures més destacades. Finalment he examinat quatre escriptors que considero paradigmàtics en el seu estudi: Ariosto, Shakespeare, Lope de Vega i Voltaire. En resum, en aquesta investigació he pogut exposar la complexitat del seu pensament, discernir les bases teòriques de les seves valoracions i establir els criteris que empra per constituir el seu cànon literari.<br>The objective of this research is to analyse the literary thought of Joan Andrés i Morell in his great work Dell'origine, progressi e stato attuale d’ogni letteratura (1782-1799). For this purpose I will attempt to systematize his judgements and to point out which aspects are traditional and which are innovative within the framework of neoclassical poetics, taking into consideration that at the end of the century in Italy and Spain neoclassicism was becoming more and more heterodox, reflecting the aesthetic and literary transformations of the period. Joan Andrés’ magnum opus, aims to offer up examples of model authors to serve as a reference points for future writers. Andrés assesses authors and literary works both critically and comparatively, from three different perspectives: time period, nation, and literary genre. His commentaries facilitate the establishment of a hierarchy of authors for each of these comparative frameworks and ultimately lay down universal models. The factors that determine an author’s quality largely relate to their concept of literature, their recognition from other literary writers and critics, to classicist poetics, and the author’s own sensitivity, which is partly innate. Andrés’ assessment of writers incorporates an enlightenment understanding of the essential purpose of literature: of instruction and enjoyment. Enjoyment is not just associated with fun, it is also linked to the effect of moving the audience, an idea which is certainly in keeping with the importance granted to the emotions and the audience in the literary theory of the second half of the 18th century. The prestige afforded to writers from enlightenment critics and the influence they exerted on literary history are factors that also influence his assessment. Regarding classicist poetics, Andrés considers how knowledge of literary theory and models allows authors to identify the essential qualities of a work and its adaptation to its given genre. This last procedure encompasses aspects such as theme choice, plot development, character type, and the specific purpose the work is supposed to fulfil. Notwithstanding the above, Andrés values authorial qualities capable of creating beauty and maintaining the audience’s interest beyond the scope of neoclassical poetics.

Juan Gil de Zamora est l’un des plus importants encyclopédistes hispaniques de langue latine. Actif à la fin du XIIIe siècle, il est lié à la cour d’Alphonse X et de Sanche IV et remplit des charges élevées dans son ordre franciscain, après des études parisiennes. Ce travail propose une editio princeps traduite et commentée de ses seize sermons mariaux répertoriés à ce jour. Elle est précédée d’une étude introductive fournissant données biographiques, réflexion sur son système encyclopédique, étude de sa part mariale et diverses découvertes homilétiques<br>Juan Gil of Zamora is one of the major hispanolatin encylopedist. Active at the end of the XIIIth century, he was linked with Alphonse the Xth’s and Sancho the IVth’s courts. Before playing an important part in his Franciscan Order he studied in Paris. This work provides with a translated and commented editio princeps of the sixteen marian sermons that could be listed. It goes with an introduction dealing with afresh biographical datas, thoughts on Gil’s encyclopedic system, marian production and homiletic discoveries

Ce travail propose d’étudier l’un des nombreux textes médiévaux portant sur le mythe de la guerre de Troie. Transmis à l’Occident médiéval non pas par le biais d’Homère mais par celui des classiques latins et de certains auteurs de l’Antiquité tardive, ce mythe connut un immense succès en Europe durant tout le Moyen Âge, malgré l’ignorance du grec et de l’Iliade. Nous avons choisi d’éditer partiellement et de commenter l’un des plus importants monuments de la matière troyenne médiévale, texte presque inédit aujourd’hui, car totalement délaissé depuis la Renaissance et le retour aux textes anciens. Dans une introduction, nous avons exposé les principes de notre travail d’édition, c'est-à-dire listé les différents manuscrits utilisés par l’éditeur précédent (Nathaniel Griffin), puis surtout présenté notre manuscrit de base, le Cod. Bodmer 78, absent de la liste des manuscrits collationnés par Griffin. Puis nous avons consacré un chapitre à la langue du texte, un latin médiéval très lisible quoiqu’empreint de « modernismes », notamment au niveau du lexique. Puis, après avoir présenté le texte, sa langue et notre méthode d’édition, nous avons exposé le peu d’éléments que nous avions sur notre auteur, sa vie, son œuvre et le contexte intellectuel au milieu duquel il évolua dans la Sicile du XIIIe siècle, ainsi que l’engouement européen pour la matière troyenne qui explique son choix de reprendre ce grand mythe dans son Historia. Enfin il nous a fallu évoquer les nombreuses sources utilisées par Guido delle Colonne, ses sources directes, indirectes ou inavouées. En dernier lieu, nous avons offert un résumé de chaque livre édité et traduit. Suit une bibliographie détaillée sur les manuscrits et éditions anciens de ce texte, des manuels, le contexte culturel et historique en Europe et en Sicile au Moyen Âge, les textes grecs, latins et vernaculaires se rapportant à la guerre de Troie et ayant influencé notre auteur de près ou de loin, les ouvrages critiques sur le traitement de cette matière troyenne dans l’Antiquité et au Moyen Âge, et enfin les quelques éléments bibliographiques portant sur Guido et sur son œuvre. Vient ensuite notre édition-traduction. La traduction est accompagnée d’un double apparat : un apparat des sources et réminiscences ainsi qu’un apparat critique qui prend en compte et compare les leçons contenues dans notre manuscrit de base avec les variantes citées par l’éditeur précédent dans les quelques manuscrits qu’il a utilisés. Au bas de la traduction, figurent des notes d’érudition destinées aux noms ou des faits cités dans le texte et qui méritent une explication. Après cette partie introduction philologique et édition, la deuxième grande partie de cette thèse consiste en un commentaire et des annexes. Dans notre commentaire, nous avons souhaité interroger notre texte dans ses aspects narratologiques, thématiques, génériques, linguistiques et idéologiques. C’est pourquoi nous avons consacré un premier chapitre à l’étude narratologique du texte, son contenu, son agencement, ses techniques narratives, son utilisation des sources et ses principales thématiques. Dans une seconde partie, nous avons abordé le genre et le ton de cette Historia, qui se veut un texte historique quoique traitant une matière fictionnelle puisque mythologique à une époque où les genres littéraires ne sont pas encore définis et encore moins cloisonnés ; nous avons en outre longuement commenté et illustré le choix de l’écriture en prose et en latin à une époque où la mode est au vers et au vernaculaire. Enfin, notre troisième chapitre porte sur le contenu scientifique, politique et idéologique de ce texte truffé de parenthèses érudites et morales. En dernier lieu, nous avons proposé une édition diplomatique de la partie non éditée ni traduite du manuscrit, ainsi que des annexes sur les manuscrits et le vocabulaire, et bien sûr des index des noms propres et un glossaire des mots rares ou surprenants<br>This work proposes to explore one of the many medieval texts on the myth of the Trojan War. Transmitted to medieval Europe not through Homer but by the Latin classics and some authors of late Antiquity, this myth was a huge success in Europe during the middle Ages, despite the ignorance of the Greek and the Iliad. We chose to partially edit and comment on one of the most important monuments of the medieval Trojan material, almost unpublished text today because totally abandoned since the Renaissance and the return to the ancient texts. In an introduction, we exposed the principles of our editing work, that is to say, listed the various manuscripts used by the original publisher (Nathaniel Griffin) and especially presented our basic manuscript, Cod. Bodmer 78, absent from the list of manuscripts collated by Griffin. Then we have a chapter on the language of the text, a medieval Latin highly readable although full of "modernism", particularly in terms of vocabulary. Then, after introducing the text, the language and our editing method, we exposed the little things we had on our author, his life, his work and the intellectual context in which he evolved in thirteenth century Sicily, and the European craze for the Trojan material explains his choice to take this great myth in his Historia. Then, we had to mention the many sources used by Guido delle Colonne, its indirect or direct or unacknowledged sources. Lastly, we provided a summary of each book published and translated. Then follows a detailed bibliography on manuscripts and old editions of this text, textbooks, historical and cultural context in Europe and Sicily in the Middle Ages, the Greek texts, Latin and vernacular related to the Trojan War and that influenced our author near or far, the critical works on the treatment of this Trojan material in antiquity and the Middle Ages, and finally some bibliographic elements on Guido and his work. Then comes our edition-translation. The translation is accompanied by a double pageantry: one for the sources and reminiscences, and a critical apparatus that considers and compares the lessons contained in our manuscript with basic variants cited by the previous editor in some manuscripts that he used. At the bottom of the translation include scholarly notes for names or facts mentioned in the text and deserve an explanation. After this introduction and part philological edition, the second major part of this thesis consists of a comment and annexes. In our review, we wanted to examine our text in its narratological, thematically, linguistic, generic and ideological aspects. That is why we have devoted the first chapter to the narratological study of the text, its content, its layout, its narrative techniques, use of sources and its main themes. In a second part, we discussed the type and tone of the Historia, which intends to be a historical text while attending a fictional material since mythological, at a time when genres are not yet defined and less compartmentalized; we have also commented extensively and illustrated the choice of writing in prose and Latin at a time when fashion is to poetry and vernacular. In the end, our third chapter focuses on the scientific, political and ideological content of this text peppered with parentheses and moral scholars. Finally, we proposed a diplomatic edition of the unedited or translated part of the manuscript, as well as appendices on manuscripts and vocabulary, and of course the name index and a glossary of rare or surprising words

Autour de l’année 1585 paraissent en France des recueils dialogués cultivant l’hybridité formelle et le mélange des tons : les Contes et discours d’Eutrapel de Noël du Fail, les Matinées et les Apresdisnées de Cholières ainsi que les Serées du libraire-imprimeur poitevin Guillaume Bouchet. Exploitant une des potentialités du Décaméron de Boccace, ils mettent l’accent sur la pratique des « devis », c’est-à-dire sur les conversations nouées par des compagnies conteuses. Ces « contes et discours bigarrez » font alterner les bribes de nouvelles, les anecdotes plaisantes et les railleries avec les matières les plus graves, fiches historiques, apophtegmes édifiants et développements juridiques. En un curieux mélange, l’art de « rencontrer » (de dire des bons mots) s’y mêle à l’érudition la plus ostentatoire. Au carrefour de l’histoire des formes littéraires et de la sociabilité, les notions de « facétie » et de « devis » permettent d’interroger la singularité de ces textes, en termes à la fois poétiques et sociaux. Le genre de la facétie humaniste y est de mieux en mieux assimilé, tandis que le dialogue philosophique cède la place à de souples conversations, qui redéfinissent les rapports des plaisanteries aux savoirs. En décrivant les réactions des interlocuteurs, ces textes mènent aussi une réflexion sur la sociabilité et les normes de la civilité. Alors que le royaume est en proie aux guerres civiles, ces conversations facétieuses esquissent des modèles de coexistence originaux, valorisant la liberté de parole, les conflits ludiques et les ententes paradoxales. À la veille du Grand siècle se décide un tournant important de l’histoire de la conversation, entre urbanité et rusticité, politesse et gauloiserie<br>Dialogued works, hybrid in form and presenting a variety of tone, make their appearance around the year 1585, in the Contes et discours d’Eutrapel by Noël du Fail, Cholières’ Matinées and Apresdisnées, and Serées, by Poitou-native printer and bookseller, Guillaume Bouchet. Inspired by a potentiality offered by Boccaccio’s Decameron, the authors place the accent on the practice known as “devis”, or conversations that are started up in a storytelling mode. These “contes et discours bigarrez” alternate snatches of novellas, pleasant anecdotes and teasing mockery with more serious material, including historical notes, edifying apophthegms and legal developments. In a curious mélange, the art of “rencontrer” (being witty) is offset by showy erudition. At the crossroads of the history of literary forms and sociability, the notions of “facétie” and “devis” enlighten the singularity of these texts, in both poetic and social terms. The genre of humanistic witticism is increasingly integrated, while philosophical dialogue gives way to agile conversation, which redefines the relation between joking and learning. In describing the reactions of the persons addressed, these texts also invite research into the sociability and the civility codes of the day. At a time when the kingdom is rife with civil wars, these facetious or witty conversations are original models for coexistence, where freedom of speech, playful clashes and paradoxical agreements play leading roles. Part urbane, part countrified, between courteous and bawdy, an important turning point in the history of conversation is reached here, on the eve of the Grand Siècle

En accord avec mes intérêts scientifiques, j’ai décidé, dans le cadre de ce travail doctoral, d’étudier un corpus correspondant règne de Sanche IV, roi de Castille et du León de 1284 à 1295, et constitué des quatre œuvres suivantes qui, à l'instar du Sendebar ou du Calila e Dimna antérieurs, exploitent toutes les ressources de l'exemplum afin d'enseigner certes mais aussi de captiver le lecteur : El Libro del Tesoro, El Lucidario, El libro del consejo e de los consejeros et Los Castigos de Sancho IV. Bien que chacun de ces livres ait été l’objet d’études ponctuelles intéressantes, ce groupement de textes n’avait, jusqu’à présent, bénéficié d’aucune grande étude monographique et appelait donc une analyse approfondie. Ces quatre ouvrages, d’origine spatiale et temporelle différente, se sont construits selon les mentalités et les pratiques de l’époque, c’est-à-dire en réutilisant, en retravaillant la matière des sources par des ajouts, des corrections, des suppressions en fonction des visées de l’auteur ou du promoteur de l’œuvre. Cette réappropriation des sources et des modèles correspond à une finalité plus ou moins évidente ou avouée, notamment si l’on en juge à l’aune du « molinisme », pensée politique du début du XIVe siècle. Les œuvres de cette période sont, en effet, soit écrites soit commanditées par le roi ou la régente, Marie de Molina. En outre, on connaît suffisamment le rôle joué par l’Archevêque de Tolède et l’importance de la pensée religieuse dans la constitution et la consolidation du « molinisme », pour parier sur l’existence d’un discours renvoyant à l’éthique chrétienne, à la morale ou à la philosophie. J’ai donc analysé la nature du projet moral, religieux et politique qui sous-tend cette littérature sapientielle. L’analyse des textes du corpus prend en compte, dans un premier temps, la structure des ouvrages et du cadre narratif, afin de définir la voix auctoriale, c’est-à-dire celle qui choisit sources et modèles et se les réapproprie : il s’agit de mettre en lumière un mode de pensée spécifique et des intentions particulières. Dans un deuxième temps, j’ai confronté ces textes aux contextes, notamment historique, si prégnant pendant le règne de Sanche IV et la régence, pour en extraire le sens politique et idéologique, moral, religieux ou philosophique. Enfin, une des finalités de ce travail de thèse est de comprendre comment, à partir de la réécriture des sources, traités, écrits religieux, auteurs classiques, exempla… s’est réalisé ce que l’on doit considérer comme un renouvellement de la production sapientielle. La thèse permet, grâce à une confrontation croisée entre histoire et littérature, de dégager l’évolution de la littérature sapientielle médiévale en castillan, et, parallèlement, de mettre en lumière la vision culturelle et morale, politique et sociétale promue par le roi Sanche IV et soutenue ensuite par Marie de Molina<br>In line with my centres of scientific interest, I have decided to examine a corpus corresponding to the reign of Sancho IV, namely El Libro del Tesoro, El Lucidario, El libro del consejo e de los consejeros and Los Castigos of Sancho IV. Although interesting individual studies have been produced on each of these books, the collation of the four texts has not hitherto benefited from any in-depth monographic study. These four works, all of different origin in time and space, were put together according to the mind-sets and practices of the time, by revisiting the source material by means of additions, corrections and deletions according to the author’s intentions. Such reworking of the sources and models corresponds to a more or less self-evident or openly admitted purpose, given that these works were either written or commissioned by the king. It is therefore essential to question the nature of the political project underlying this sapential literature. The initial analysis of the texts takes account of their structure and narrative framework in order to define the voice of the author, that is to say who chooses and takes on the relevant sources and models. Secondly, these texts need to be set against their context, especially their historical context, in order to highlight their political, ideological, moral, religious or philosophical meaning. Finally, one of the aims of this thesis is to understand how, as from the-re-writing of the sources, treatises, scriptures, classic authors and other exempla, what can be considered as a renewal of sapiential or wisdom literature actually came about. Thanks to such a cross-matching of history and literature, the thesis should evidence the evolution of sapential literature and throw light upon the cultural, moral, political and social vision promulgated by king Sancho IV and upheld by Maria de Molina

abstract: In May 2014, The Encyclopedia Show: Chicago performed its last volume. Like all others before, the Show was a collection of performances devised by artists, musicians, poets and playwrights all performing various subtopics surrounding a central theme, taken from “an actual Encyclopedia.” The final show was Volume 56 for Chicago; the founding city ended their six year run with an amassed body of work exploring topics ranging from Wyoming to Alan Turing, Serial Killers to Vice Presidents. Perhaps more impressive than the monthly performance event in Chicago is the fact that the show has been “franchised” to organizers and performers in at least seventeen cities. Franchise agreements mandated that for at least the first year of performance, topics were to follow Chicago’s schedule, thus creating an archive of Shows around the world, each that started with Bears, moved to The Moon, onto Visible Spectrum of Color, and so on. Now that the Chicago show has ended, I wonder what will happen to the innovative format for community performance that has reached thousands of audience members and inspired hundreds of individual performances across the globe in a six-year period. This project, like much of my own work, has two aims: first, to provide the first substantive history of The Encyclopedia Show for archival purposes; and second, to explore whether this format can be used to achieve the goals of “interdisciplinarity” in the classroom. In an effort to honor my own interests in multiple academic disciplines and in an attempt to capture the structural and performative “feel” of an Encyclopedia Show, this dissertation takes the shape of an actual Encyclopedia Show. The overarching topic of this “show” is: Michelle Hill: The Doctoral Process. In an actual Encyclopedia Show, subtopics would work to explore multiple perspectives and narratives encompassed by the central topic. As such, my “subtopics” are devoted to the roles I have played throughout my doctoral process: historian, academic, teacher. A fourth role, performer, works to transition between the sections and further create the feel of a “breakage” from a more traditional dissertation.<br>Dissertation/Thesis<br>Doctoral Dissertation Theatre 2017

Le présent mémoire vise à étudier les pratiques, les enjeux et les modalités du don diplomatique animalier au XIIIe siècle, notamment sous le règne de Frédéric II, Henri III et Louis IX. Pour cela, on présente les concepts et les théories, sociologiques et anthropologiques, du don, particulièrement celles de Marcel Mauss. Ainsi outillé, on appréhende les particularités des cadeaux animaliers diplomatiques au XIIIe siècle. Ensuite, à l’aide d’une recherche sur les descriptions animalières des bestiaires et des encyclopédies médiévales, on montre la puissance symbolique et les particularités physiques et comportementales de la faune offerte. Enfin, à partir de la combinaison des deux premières parties, plusieurs modalités du don sont développées, parmi lesquelles les critères de choix et les préférences fauniques des rois, le contexte et les règles de la réalisation d’un présent et la circulation des animaux offerts. En outre, on souligne combien les bêtes et les oiseaux offerts ont eu une utilité. En effet, on voit que les rois ont mis en scène leurs animaux afin de s’approprier leur symbolique et d’exacerber leur prestige et leur grandeur, lors d’évènements spécifiques ou dans leurs ménageries.<br>The main purpose of this text is to study the practices, the issues and the modalities of the animal diplomatic gift in the 13th century, especially during the reign of Frederick II, Henry III and Louis IX. The analysis is based on the presentation of the sociological and anthropological conceptualizations of the gift, particularly those of Marcel Mauss. They are used to understand the peculiarities of the animal diplomatic gift in the 13th century. Then, a research on animal descriptions of medieval bestiaries and encyclopedias is conducted to show the symbolic power and the physical and behavioral characteristics of the offered wildlife. Finally, several modalities of the donation are developed, such as the selection criteria and the wildlife preferences of the kings, the context and rules of the elaboration of a present and the movement of given animals. In addition, it is shown how the beasts and birds had a real use for the kings. Indeed, they staged their animals in order to appropriate their symbolism and show off their prestige and their greatness, at events or in the menageries.

陳佩瑜.<br>"2005年7月".<br>論文(哲學碩士)--香港中文大學, 2005.<br>參考文獻(leaves 1-19, 2nd group).<br>"2005 nian 7 yue".<br>Abstracts in Chinese and English.<br>Chen Peiyu.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005.<br>Can kao wen xian (leaves 1-19, 2nd group).<br>提要 --- p.i<br>Abstract --- p.ii<br>Chapter 第一章 --- 引言 --- p.1-6<br>Chapter 第一節 --- 硏究動機 --- p.1<br>Chapter 第二節 --- 硏究方法 --- p.3<br>Chapter 第二章 --- 吳淑生平背景、《事類賦》的成書及刊本 --- p.7-41<br>Chapter 第一節 --- 吳淑的生平 --- p.7<br>Chapter 第二節 --- 吳淑的著作 --- p.9<br>Chapter 第三節 --- 《事類賦》的成書背景 --- p.11<br>Chapter 第四節 --- 刊本及流傳 --- p.34<br>章節附錄〔一〕：《事類賦》的版本與流傳 --- p.36<br>Chapter 第三章 --- 《事類賦》的體系和分類 --- p.42-74<br>Chapter 第一節 --- 緒論 --- p.42<br>Chapter 第二節 --- 《事類賦》的內容體例 --- p.49<br>Chapter 第三節 --- 類書的分類思想 --- p.52<br>Chapter 第四節 --- 《事類賦》的分類背景 --- p.61<br>Chapter 第四章 --- 賦體類書´ؤ´ؤ《事類賦》 --- p.75-125<br>Chapter 第一節 --- 賦體的特點與類書之關係 --- p.75<br>Chapter 第二節 --- 「賦寫類書」 --- p.87<br>Chapter 第三節 --- 《事類賦》的賦體格局 --- p.98<br>Chapter 第四節 --- 小結 --- p.124<br>Chapter 第五章 --- 《事類賦》的命名及藝文特色 --- p.126-176<br>Chapter 第一節 --- 「事類」考釋 --- p.126<br>Chapter 第二節 --- 《事類賦》的藝文特色 --- p.147<br>Chapter 第三節 --- 小結：《事類賦》與文學 --- p.175<br>Chapter 第六章 --- 《事類賦》在元明的流傳與清人的續書 --- p.177-214<br>Chapter 第一節 --- 類書的續補情況及續補原因 --- p.177<br>Chapter 第二節 --- 刊刻、續補《事類賦》與時代之關係 --- p.181<br>Chapter 第三節 --- 《事類賦》在清代續補的原因 --- p.190<br>Chapter 第四節 --- 《事類賦》在清代的續補 --- p.205<br>Chapter 第五節 --- 小結 --- p.213<br>Chapter 第七章 --- 結語 --- p.215-216<br>參考書目 (1)-(19)<br>附錄 --- p.1-62<br>附錄一：《事類賦》、李嶠《雜詠》及《文苑英華》詩賦分類對照表 --- p.1<br>附錄二 ：《事類賦注》天部賦篇用韻及對偶簡表 --- p.5<br>附錄三：附錄三：《事類賦》引用的賦篇篇目簡表 --- p.60