Dissertations / Theses on the topic 'French drama – 17th century – History and criticism'

The subject of medicine in the works of Moliere has been traditionally treated as a matter of satire. While it is important to consider this view and while biographical approaches relating Moliere's personal illness to the content of his medical comedy are illuminating, this study proposes that a plurality of views offers a more complete picture. Such analysis discovers that Moliere's medical comedy is much more than satire, that it contains elements of black humor and even approaches the theater of cruelty in its treatment of sickness and death. The metaphor in this approach is in the perception of a composite image of this part of Moliere's theater, much like the pattern that a kaleidoscope discloses. As we may sort out the various elements that compose the kaleidoscopic impression--light and shadow, color, form, change of image through manipulation of the instrument--there is a similarity in the division of elements in Moliere's medical theater. Light and shadow correspond to the opposition of fact and fantasy in seventeenth-century French medicine and constitute the historical view of his work; color corresponds to the notion of Galenic humor theory and suggests that the comedy of character may be analyzed according to humoral temperaments; form corresponds to the language Moliere used in his medical plays; the change of image occurs in Moliere with the passage of time--his medical comedy being farcical at the beginning of his career and much darker towards the end of his life. The purpose of this approach is to identify these separate elements in order to better understand their function as an organic whole. For this reason, the notion of organic unity is also treated. In an effort to relate Moliere's theater to the present day, this study compares Moliere's work with Artaud's notion of the nature and function of theater, with the two meanings of semiology--sign theory and symptomatology, and using an archetypal approach, concludes with the suggestion that sexuality, death, and medicine form a hidden mythology in these plays.

Critical studies on the comic drama of the seventeenth-century French playwright, Jean-Baptiste Poquelin de Moliere (1622-1673), center attention on biography, production, stylistics, and thematic development. Because of the diversity of themes, and because of the considerable productivity of this dramatist, the analyses of the style and substance of these comedies have often been focused on the use of themes or techniques employed in a single comedy or associated with one single sort of comedy. This thesis, "Farce, critique sociale, et ccm6die morale chez Moliere," proposes to deepen, in two ways, our appreciation of Moliere's combined use of themes and techniques that, in turn, create three sorts of comic modes. First, through a close reading of three of Moliere's major plays (Le medecin malgre lul, Les Precieuses ridicules, and Misanthrope), this thesis attempts to describe the techniques that develop and elucidate a particular comic focus, and thereby enhances our awareness of Moliere's recognition of the necessary relationship between theme and technique in the creation of comedy. The description of this use of comic techniques and the subsequent development of themes encourage classification of these representative plays into three sorts: farce, social comedy, and moral comedy. Such a classification thus expands the narrow perspective of criticism, and encourages a study of the necessary relationship between theme and technique and, perhaps, will suggest future study of the development of Moliere's comic artistry.
Department of Foreign Languages

A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.

This thesis has two aims: to make an original contribution to knowledge by demonstrating the importance of theatrical rivalry to the development of drama in the Carolean period (the reign of Charles II), and to re-evaluate the managerial career of Thomas Killigrew (1612-1683). This is the first detailed survey of the circumstances in which the King's Company and the Duke's Company competed and an analysis of the troupes' devices of plotting and counter-plotting during their twenty-two years of stage rivalry from 1660 to 1682. As well as charting the stage rivalry between the two companies, my dissertation argues that Killigrew was a competent but unscrupulous and devious playhouse-manager. A close analysis of his managerial career will show how Thomas Killigrew was the central figure in the Carolean stage rivalry in London and how he helped to shape the future of English theatre. The survey starts from Killigrew's beginnings as the manager of the King's Company from 1660 and concludes in 1682 when the King's Company was effectively taken over by its rival, the Duke's Company, to make one United Company, thus ending the span of theatrical competition in the Carolean period. Each chapter is divided in accordance with the beginning and end of significant events of rivalry and are organised chronologically at different phases of the competition. The first chapter provides the historical background of the establishment of the patent grants and the gradual consolidation of the monopoly over dramatic entertainment in London. In charting the initial stages of the development of the King's Company and the Duke's Company from 1660 to 1663, this chapter argues that it was largely due to Thomas Killigrew's underhandedness that the King's Company began the competition in an advantageous position. The second chapter focuses on the theatrical competition from 1663 to 1668. Until 1663 both companies were busy consolidating their duopoly and the competition between the two managers ended abruptly with William Davenant's death in 1668. In the survey of the Killigrew-Davenant rivalry, this chapter's overall aim is to argue for narrowing of the wide chasm often described between the managerial skills of the two managers. Chapter three explores the period from when Mary Davenant, Thomas Betterton and Henry Harris took over the management of the Duke's Company to the burning of the King's Company's playhouse in 1672. It argues that the competition in this period was evenly matched. This chapter also revises the perceived style of management adopted by both Betterton and Killigrew. The chapter argues that Betterton was perhaps less involved in the most audacious project of the Duke's Company during these years: the building of three theatres including the Dorset Garden Theatre. In the case of the latter, this chapter argues that Killigrew continually took risks at other people's expense and was little concerned with the well being of his staff and shareholders as long as the company gained notoriety and retained its success. The penultimate chapter of the dissertation covers the time span from the Bridges Street Theatre's fire to the ousting of Killigrew as the manager by his own son, Charles Killigrew. It argues that this was the crucial period in which the Duke's Company began clearly to surpass its rival. This chapter qualifies the orthodox view that the King's Company simply lost its battle against the Duke's Company by demonstrating that the two companies also had to contend with a large number of foreign troupes and the rising popularity of music concerts. The final chapter explores the period from when Charles Killigrew took over the management of the King's Company to the amalgamation of the two acting troupes in 1682. It demonstrates the negative effects of the political turbulence of the Popish Plot and the Exclusion Crisis on both the troupes' plays and players. The chapter also argues that Charles Killigrew was not as charismatic or manipulative as his father, and that he greatly contributed to the demise of the King's Company. In conclusion, this is strictly a study of theatre history that looks at the importance of management and company rivalry to the development of Carolean drama. At its peak in the 1670s, the Carolean period produced on average twenty new plays per season. The highly competitive nature of the rivalry between the King's Company and the Duke's Company and how the respective managements responded to the success or the failure of the other theatre is the background against which one must read the plays of the Carolean period. Thomas Killigrew, whose managerial career spanned the longest in the Carolean years, was an influential figure in the period and whose innovations and difficulties as a manager had a direct effect not only on theatre history but also on the dramatic traditions of the seventeenth century.

L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.

The thesis continues the work undertaken in recent years by (in alphabetical order) James J. Marino, Scott McMillin, Paul Menzer, Simon Palfrey, Tiffany Stern, Evelyn Tribble, and others to put to use what is now known about the purpose, distribution, and usage of early modern actors' parts. The thesis applies the new methodology of reading 'in parts', or reconstituting early modern plays 'in parts', to the body of plays written by Ben Jonson. The aim of the project is to offer a reconsideration of Jonson as a man of theatre, interested not only in the presentation of his works in print, but also in their production at the Globe and at Blackfriars. By reconstructing and examining the parts through which the actors performing in Jonson's plays accessed their characters, the thesis proposes answers to the questions: how can we read and analyse Jonson's plays differently when looking at them in terms of actors' parts; did Jonson write with parts in mind; what did Jonsonian parts have to offer actors by way of challenge and guidance; what can we learn from parts about Jonson's assumptions and demands with regard to the actors; and how did actors themselves respond to those demands. These questions are significant because they engage critically with the tradition of seeing Jonson as a playwright dismissive of actors and distrustful of the theatre; they seek to establish a perspective that allows us to assess Jonson's abilities to instruct and challenge his actors through staging documents. More generally, the research contributes to the studies of the early modern rehearsal and staging practices and invites consideration of Shakespeare's part-writing techniques in contrast with those of his major rival. With no surviving early modern parts from Jonson's plays (indeed with only a handful of surviving parts from the period), the first task is to determine the level of accuracy with which the parts can be reconstructed from Jonson's printed plays. Stephen Orgel was by no means the first critic who used the example of Sejanus to assert that Jonson habitually doctored his plays before they were published, but his view has become a critical commonplace. This thesis re-examines the case of Jonson's revisions and concludes that, far from being representative, the 1605 Sejanus quarto is an anomaly which Jonson himself needed to account for in his address to the reader. It is true that Jonson cultivated a distinct style of presentation of printed material, but the evidence that he extensively tampered with the texts themselves after they were performed is scarce (again, the revisions found in the Folio versions of Every Man in His Humour and Cynthia's Revels are addressed and found to be exceptional, rather than typical), while the evidence of his pride in the original compositions and performances is much stronger. Since such enhancements as dedicatory poems, arguments (i.e. plot summaries), character sketches, or marginalia have no bearing on the shapes of actor's parts, they do not in any way compromise the reliability of the printed texts as sources from which Jonson's parts can, argues the thesis, be reconstructed with reasonable accuracy. Jonson, himself an actor and apparently a friend and admirer of a number of great actors of his age (Edward Alleyn, Nathan Field, Richard Robinson, Salomon Pavy, Richard Burbage), knew from personal experience how much depended on actors mastering, or, in their terminology, being 'perfect' in, their parts. By granting the actor access only to select portions of the complete play-text (i.e. his own lines and cues), the part effectively regulated the performance in cases when the actor had only limited knowledge of the rest of the play. Such cases seem to have been very common: documentary evidence suggests that actors had to learn their parts on their own over the course of a few weeks, and only then attended group rehearsals, most of which were concerned with 'business', not text which had already been learned. While some might have attended a reading of the play (if one was arranged for the benefit of the sharers, for instance), or gained more information about the play from their fellow actors, the parts remained their chief means of internalising their text and acquiring a sense of the play they were in. Jonson, who was not a resident playwright with any company performing in London and thus probably did not always have easy and regular access to the actors, could sometimes have taken advantage of the actors' dependence on their parts and crafted the parts as a means of exercising control over the performances of his plays. Building on this premise, the thesis examines various features of actors' parts that would have made a difference to an actor's performance. It draws on recent advancements in the studies of textual cohesion (linguistic features such as reference, substitution, ellipsis, etc.) to point out how the high and low frequency of cohesive ties (pairs of cohesively related words or phrases) in various sections of the part would have given an actor a good idea of how prominent his part was at any given moment. It examines Jonson's use of cues and patterns of cueing: like Shakespeare, Jonson was fond of using repeated cues to open up a space for improvisation, and he seems to have been aware of the need to provide the apprentices in the company with parts cued by a limited number of actors so as to allow for easier private rehearsals with their masters. The thesis also examines the common feature of Jonson's 'split jokes' - jokes that are divided across multiple parts - and asks whether any kind of comic effect can be achieved by excluding the punch line of a joke from the part that contains its setup, and the setup from the part that delivers the punch line, offering a fresh look at the nature of early modern comedy. In structural terms, the thesis considers how a narrative constituted solely by the lines present on an actor's part can diverge from the narrative of the play as a whole and how an understanding of a play as a text composed of actors' parts, as well as of acts and scenes, can help to refine arguments about Jonson's assumptions about the strengths of the companies for which he wrote. What emerges is an image of Jonson who, far from concerned only with readership, consciously developed a brand of comedy that was uniquely suited to, perhaps even relying on, the solipsistic manner in which the actors received and learned their parts.

The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.

Three original stories are the basis for our study of rewriting during the French Ancien Regime: the story of Thibaud de la Jacquiere, that of the "sorcier Gaufridy" and that of the Marquise de Ganges, which Sade will rewrite as a novel. Having all originated from a "canard", they appear in the 1679 edition of the Histoires tragiques of Francois de Rosset, and two of them can also be found in Francois Gayot de Pitaval's Causes celebres. Each of these stories was rewritten by different authors at least three times. Using Gerard Genette's theory of the narrative, we will analyse the processes of transformation that the rewriting operates in the text, as well as the changes it imposes to its original meaning. The number of rewritings of each text---up to five for the Marquise de Gange---is a testament to the importance of textual reappropriation as much as it shows the relevance of a study which brings to light the role of rewriting in the survival of these stories.

During the 17th and 18th centuries, the French garden history witnesses the triumph and then the decline of the French formal garden, to which succeeds the fashion of landscape gardening of foreign inspiration. Integrating and nourishing this debate, the literary texts of that period enable to grasp the stakes that it brings up. The garden notably lends itself to the expression of an emerging sentiment of nature, as well it also serves that of a political thought enlightened by new ideas. Effectively, the treatment that these texts give to the garden is a witness to the revival that installs itself in the way of conceiving nature, and the relation that nature holds with man and the art of the gardens. The garden's topic and scenography are a testimony of changes that in turn affect its imaginary and that of the walk. Finally, the critical discourse exploits the analogy that establishes itself between the art of the gardens and the exercise of power, polarizing the debate around the political metaphor.

This thesis explores the first English translations of Molière's works published between 1663 and 1732 by writers that include John Dryden, Edward Ravenscroft, Aphra Behn, and Henry Fielding. It challenges the idea that the translators straightforwardly plagiarized the French plays and instead argues that their work demonstrates engagement with the dramatic impact and satirical drive of the source texts. It asks how far the process of anglicization required careful examination of the plays' initial French national context. The first part of the thesis presents three fundamental angles of interrogation addressing how the translators dealt with the form of the dramatic works according to theoretical and practical principles. It considers translators' responses to conventions of plot formation, translation methods, and prosody. The chapters are underpinned by comparative assessments of contextual theoretical writings in French and English in order to examine the plays in the light of the evolving theatrical tastes and literary practices occasioned by cross-Channel communication. The second part takes an alternative approach to assessing the earliest translations of Molière. Its four chapters are based on close analysis of culturally significant lexical terms which evoke comically contentious social themes. This enquiry charts the changes in translation-choices over the decades covered by the thesis corpus. The themes addressed, however, were relevant throughout the period in both France and England: marital discord caused by anxieties surrounding cuckoldry and gallantry, the problems of zealous religious ostentation, the dubious professional standing of medical practitioners, and bourgeois social pretension. This part assesses how the key terms in translation were chosen to resonate within the new semantic fields in English, a target language which was coming into close contact with new French terms.

Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.

This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama.

Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.

This dissertation examines the role of stage properties-props, slangily-in the construction and expression of characters' identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707-for example, Thomas Middleton's The Revenger's Tragedy (1607), Edward Ravenscroft's adaptation of Titus Andronicus (1678), Aphra Behn's The Rover (1677), and William Wycherley's The Plain Dealer (1677)-I demonstrate how props mediate relationships between people. The control of a character's props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities-for example, when the women in Behn's Rover circulate miniatures of themselves-yet other characters must also interpret these objects. The props, and therefore the characters' identities, are at all times vulnerable to misinterpretation. Much as the props' meanings are often disputed, so too are characters' private identities often at odds with their public personae. The boundaries of selfhood that the characters wish to protect are made vulnerable by the objects that they use to shore up those boundaries. When read in relation to the characters who move them, props reveal the negotiated process of individuation. In doing so, they emphasize the correlation between extrinsic and intrinsic worth. They are a measure of how well characters perform gender and class rolls, thereby demonstrating the importance of external signifiers in the legitimation of England's subjects, even as they expose "legitimacy" as a social construction.

Studies of the English Renaissance reveal a patriarchal structure that informed its politics and its literature; and the drama especially demonstrates a patriarchal response to what society perceived to be the problem of women's efforts to grow beyond the traditional medieval view of "good" women as chaste, silent, and obedient. Thirteen comedies, whose creation spans roughly the same time frame as the pamphlet wars of the so-called "woman controversy," from the mid-sixteenth to the mid-seventeenth centuries, feature women who have no public power, but who find opportunities for varying degrees of power in the private or domestic setting.

My dissertation focuses on representations of women and ritual on the Renaissance stage, situating such examples within the context of the Protestant Reformation. The renegotiation of the value, place, and power of ritual is a central characteristic of the Protestant Reformation in early modern England. The effort to eliminate or redirect ritual was a crucial point of interest for reformers, for most of whom the corruption of religion seemed bound to its ostentatious and idolatrous outer trappings. Despite the opinions of theologians, however, receptivity toward the structure, routine, and familiarity of traditional Catholicism did not disappear with the advent of Protestantism. Reformers worked to modify those rituals that were especially difficult to eradicate, maintaining some sense of meaning without portraying confidence in ceremony itself. I am interested in how early Protestantism dealt with the presence of elements (in worship, daily practice, literary or dramatic representation) that it derogatorily dubbed popish, and how women had a particular place of importance in this dialogue. Through the drama of Shakespeare, Webster, and Middleton, along with contemporary religious and popular sources, I explore how theatrical representations of ritual involving women create specific sites of cultural and theological negotiation. These representations both reflect and resist emerging attitudes toward women and ritual fashioned by Reformation thought, granting women a particular authority in the spiritual realm.

At first glance, the long tradition of Quebecois adaptations of Shakespeare might seem paradoxical, since Quebec is a francophone nation seeking political independence and has little direct connection to the British literary canon. However, it is precisely this cultural distance that allows Quebecois playwrights to play irreverently with Shakespeare and use his texts to explore issues of nation and gender which are closely connected to each other. Soon after the Quiet Revolution, adaptations such as Robert Gurik's Hamlet, prince du Quebec and Jean-Claude Germain's Rodeo et Juliette raised the question "To be or not to be free" in order to interrogate how Quebec could take action to achieve independence. In Macbeth and La tempete, Michel Garneau "tradapts" Shakespeare and situates his texts in the context of the Conquest. Jean-Pierre Ronfard's Lear and Vie et mort du Roi Boiteux carnivalize the nation and permit women to rise to power. Adaptations since 1990 reveal awareness of the need for cultural and gender diversity so that women, queers, and immigrants may contribute more to the nation's development. Since Quebec is simultaneously colonial, neo-colonial, and postcolonial, Quebecois playwrights negotiate differently than English Canadians the fine line between the enrichment of their local culture and its possible contamination, assimilation, or effacement by Shakespeare's overwhelming influence, which thus allows them to appropriate his texts in service of gender issues and the decolonization of the Quebec nation.

This thesis proposes to apply Queer theory as the framework for examining Michel Marc Bouchard's play Les Feluettes. This study is built around two methodological axes, one being the analysis of dialogue; the second, the application of Queer theory. Dialogue and staging are scrutinized in an effort to discover the Queer. The links between sex, power, language and knowledge will be specifically studied. The intention is to show how their relationship, based on opposition, can be modified by a subversive discourse. By way of introduction, a brief discussion of Queer theory will be presented to familiarize the reader with its origins, sources of inspiration and strategies of deconstruction. The first chapter will focus on the homosexual's interior monologue. Chapter two will focus on the homosexual's dialogue with other homosexuals. The third, and final chapter, will round out the analysis by studying the dialogue between the homosexual and heterosexuals. (Abstract shortened by UMI.)

Orientador: Carlos Eduardo Ornelas Berriel
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Conteudo: v.1. Estudo ; v.2. Tradução
Resumo: Analisar e traduzir La Terre Australe connue são os objetivos desta tese de doutorado. Segundo "G. de F", narrador do prefácio, La Terre Australe connue é a tradução do relato da viagem de Nicolas Sadeur ao último continente ainda desconhecido no século XVII, chamado nos mapas da época de terra australis incógnita, um lugar aprazível, habitado e totalmente planejado - em todos os seus aspectos - por hermafroditas perfeitamente racionais. Este pseudodocumento é uma utopia literária que foi, em realidade, escrita por Gabriel de Foigny e publicada em Genebra, em 1676, sob falso nome de editor e de cidade. O trabalho está dividido em dois volumes. O volume 1 é dedicado à análise da obra e contém dois capítulos principais. O primeiro trata da definição da utopia como gênero literário partindo do texto paradigmático de Thomas Morus, A Utopia. No segundo capítulo, apresento uma biografia de Gabriel de Foigny, faço uma revisão bibliográfica da crítica já publicada sobre sua utopia para, em seguida, desenvolver minha interpretação da figura do hermafrodita como alegoria da hibridização 1) do poder real absoluto, 2) do Estado absolutista e 3) do panorama religioso francês desta época. Passo em seguida à análise da figura do hermafrodita tal como ela é descrita pelo autor, percebendo que ela se insere na tradição menipéia e luciânica. Na parte seguinte, estudo outros temas relevantes para a compreensão desta utopia: a questão religiosa no capítulo VI ("Da religião dos austrais"), a ciência e a técnica na Terra Austral, o prefácio e o narrador-editor, a temática das línguas e da tradução nesta utopia e, por fim, o libertinismo. Um apêndice é dedicado ao estudo das fontes gregas da utopia. No volume 2 está a tradução para o português, organizada numa edição bilíngue acompanhada de notas.
Abstract: The aim of this doctoral thesis is to analyze and translate La Terre Australe connue. According to "G. de F. ", the narrator of the preface, La Terre Australe connue is the translation of Nicolas Sadeur's voyage account to the last continent still unknown in the 17th Century, called terra australis incognita on the maps of the period, an inhabited place, in all aspects pleasing and totally planned by perfectly rational hermaphrodites. This pseudodocument is a literary Utopia. It was, in fact, written by Gabriel Foigny and published in Geneva in 1676, under a false name of city and editor. The work is divided into two volumes. Volume 1 is dedicated to the analysis of the text and contains two main chapters. The first one deals with the definition of Utopia as a literary genre starting from the paradigmatic text of Thomas More, Utopia. The second brings a biography of Gabriel de Foigny, a review of the published criticism about his Utopia with the purpose of, afterwards, presenting my personal reading of it, based on the figure of the hermaphrodite as an allegory of the hybridization of 1) the absolute royal power, 2) the absolutist state and 3) the religious panorama of 17th Century France. I examine, then, the figure of the hermaphrodite as it is described by the author, observing that it continues the menippean and lucianic tradition. After that, I study other relevant subjects to the understanding of this Utopia: the religious question in Chapter VI ("The religion of the Southern"), science and technology in the Southern Land, the preface and the narrator-editor, the thematics of language and translation in this Utopia and, eventually, the philosophical libertinism. An appendix is devoted to the study of Greek sources of Utopia. In volume 2 we present the Portuguese translation, organized in a bilingual edition, accompanied by notes.
Doutorado
Historia e Historiografia Literaria
Doutor em Teoria e História Literária

This thesis is a study of the works of the historian Flodoard of Rheims (893/4–966), author of two substantial prose narratives (Annales and Historia Remensis ecclesiae) and an epic verse history (De triumphis Christi). Flodoard is the only major Frankish chronicler of his day, so his accounts of the political history of the West Frankish, Ottonian and Italian kingdoms are of paramount importance to modern scholars. Flodoard's Annales have been considered a reliable and neutral account of contemporary affairs, so historians have been content to mine them for ‘facts' informing wider debates concerning the history of late Carolingian Europe. Additionally, he has been judged a conscientious, source-driven archivist: his Historia Remensis ecclesiae preserves an abundance of otherwise-lost documentary sources which has been used by scholars to illuminate the church of Rheims' illustrious history. However, Flodoard was an actor on the highest political stage. He spent time at royal courts, travelled to Rome, and regularly communicated with the leading political and intellectual figures of his day. He was also deeply enmeshed in the affairs of the powerful archbishopric of Rheims. This study demonstrates that Flodoard's histories are not easily extricated from the context of his own turbulent career. It argues that Flodoard cannot be understood without reference to the vicissitudes of the complex political environment in which he operated. By taking Flodoard on his own terms and situating his historical works in their appropriate political and intellectual contexts, this thesis challenges the conventional way we read Flodoard, asking what kind of information we can reliably interrogate him for, whom his audiences were, why he wrote history at all and whether he is truly representative of his age.

L’étude du conte de fées de 1690 à 1789, période de la mode du genre en France, montre que la matière merveilleuse s’est constituée dès ses débuts avec des éléments de pratiques lettrées transposés du réel mais aussi et surtout transformés de manière fantaisiste. Les premiers conteurs (1690-1704) érigent en effet le genre selon une poétique complexe mariant l’oralité des temps naïfs et l’écrit, signe d’une pratique sociale et culturelle du conte. Les conteurs suivants en apportent des infléchissements plus parodiques, des imitations et des variations notamment orientalisantes. L’ensemble des auteurs est concerné mais à des degrés divers, Perrault, Choisy et Fénelon étant moins prolixes en la matière que Madame d’Aulnoy, Pétis de la Croix ou le chevalier de Mailly.Le pays merveilleux dévoile ses arcanes, son secret de fabrication métatextuelle à travers des scènes plus ou moins fugaces de lecture, d’écriture et d’évocations de bibliothèques féériques
The study of the fairy tale over the years 1690-1789, when the genre was in fashion in France, shows that, from its inception, the subject matter grew up with elements of realistic literary practice which were largely reshaped by imagination. The first storytellers (1690-1704) set up the literary genre according to a complex poetics allying the orality of naive times with literacy, which is the mark of a social and cultural practice of the story. The contributions of the forthcoming storytellers are imitations, parodies or are tinged with Orientalism. All the writers are affected, but to varying degrees: Perrault, Choisy and Fénelon are less inventive in this respect than Madame d’Aulnoy, Pétis de la Croix or the Chevalier de Mailly. The wonderland reveals its mysteries and the secret of its metatextual layout through more or less fleeting scenes of book reading or writing conjuring up a magical library

L’Astrée d’Honoré d’Urfé marqua à divers titres le roman de la première moitié du XVIIe siècle. Non seulement cette œuvre ouvrait la voie aux vastes fictions héroïques de Gomberville ou de Scudéry, mais elle apparaissait également comme un modèle de composition parvenant à unir, au sein d’un unique roman, une matière hétéroclite. La complexité de L’Astrée est donc tout autant thématique que structurelle :les traditions pastorale et chevaleresque s’entremêlent et le récit principal est sans cesse interrompu par des narrations secondes prises en charge par les personnages mêmes de la diégèse. Cependant, le récit n’en forme pas moins un ensemble unifié ;d’ailleurs, il fut d’emblée reçu comme un roman et non comme un recueil de nouvelles. C’est pourquoi, nous avons désiré étudier le « système » que l’auteur met en place afin d’unifier l’œuvre aussi bien au niveau de la forme qu’au niveau du contenu. Pour y parvenir, nous avons établi une description complète des structures narratives de L’Astrée via une observation narratologique qui s’attache tantôt à rechercher dans différentes traditions littéraires les éléments de structure faisant sens dans le roman d’Urfé, tantôt à cartographier la mécanique narrative qui régit la progression des nombreux fils du récit. Ensuite, d’un point de vue davantage thématique, nous avons souhaité mettre au jour divers mécanismes – dont les variations sur le thème de la perte et du regret – qui assurent au roman une unité quant à sa matière foisonnante. Par ces analyses, nous espérons éclairer le fonctionnement d’un roman-clé de l’histoire, qui posa les premiers jalons de la modernité romanesque.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

The various transformations that Quebec society was undergoing throughout the 1980s are reflected in the dramaturgy of the period, notably in the critique of nationalist discourse, and in the writing of hitherto marginalized groups such as women, immigrants, and gays and lesbians.
The tensions within the family unit are one of the leitmotivs of Quebec theatre in the 1980s, which usually represents the mother either as a sort of monster who suffocates her children, or as a victim of the Law of the Father. When a woman decides to speak and to redefine motherhood, this dual model of the "patriarchal mother" crumbles and the universe of the family must be reconfigured.
In this thesis, we propose a semiological analysis for each of the plays of our corpus. The first chapter analyzes Addolorata, by Marco Micone. In this play, the mother's taking possession of speech not only destabilizes her family but also calls into question established structures within the Italo-Quebecois community. The second chapter examines Marie Laberge's Aurelie, ma soeur, a play which illustrates the (re)construction of the family unit around a nonbiological maternal bond. The third and final chapter studies Michel Marc Bouchard's Les Muses orphelines, in which access to speech and to the condition of mother is achieved through lies and truth. In the conclusion of this thesis, we bring together the principal characteristics of the feminine and maternal voices which are heard in the three plays, voices which are all defined by the desire, the need to affirm their subjectivity.

This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage

This study examines the constructions and uses of the figure of Ovid in French writing of the second half of the seventeenth century, and explores how they were modulated by contemporary aesthetic and cultural concerns. As the influence of Ovid’s poetry made itself felt in various ways – in the mythopoeia of the Sun-King and the fashionable galant salons – interest in the story of Ovid’s life blossomed. This, I argue, was facilitated by new forms of ‘life-writing’, the nouvelle historique and histoire galante, and fuelled in unexpected ways by the escalating querelle des Anciens et des Modernes. Research has been done on the reception and influence of Ovid’s poetry in this period, but little attention has been paid to the figure of Ovid. This thesis offers a new perspective and, informed by recent renewed interest in life-writing, argues that analysis of biographical depictions is vital for establishing a coherent picture of the uses of Ovid in the ‘Grand Siècle’. I explore a diverse range of textual descriptions of Ovid (Vies; prefatory material attached to translations and editions of his work; correspondence; dialogues des morts; biographical dictionaries and historical novels), organized according to their different, though intersecting, ways of writing about this poet. He was constructed as a historical figure, an author, a fictional character and a ‘parallèle’ – a point of identification or contrast for contemporary writers. Through close analysis of a multi-authored corpus, this thesis identifies and examines two instances of paradox: though an ancient poet, Ovid became emblematic of 'Moderne' movements and was used to explore aspects of galanterie; and, though his creative work was mobilized in the service of royal propaganda, Ovid, as a figure for the exiled poet, was also used to express anxieties about the sway of power and the machinations and pitfalls of the world of the court.

Liao Weichun.
"August 2004."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (p. 249-268).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.