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Dissertations / Theses on the topic 'Literature, Modern – 17th century'
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Patterson, Jonathan Hugh Collingwood. "Representations of avarice in early modern France (c.1540-1615) : continuity and change." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610850.
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Kwong, Jessica Mun-Ling. "Playing the whore : representations of whoredom in early modern English comedy." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707984.
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Phillips, Harriet. "Uses of the popular past in early modern England, 1510-c.1611." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648360.
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Gomez, Clemente Jr. "Manhood in Spain: Feminine Perspectives of Masculinity in the Seventeenth Century." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849616/.
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The question of decline in the historiography of seventeenth-century Spain originally included socio-economic analyses that determined the decline of Spain was an economic recession. Eventually, the historiographical debate shifted to include cultural elements of seventeenth-century Spanish society. Gender within the context of decline provides further insight into how the deterioration of the Spanish economy and the deterioration of Spanish political power in Europe affected Spanish self-perception. The prolific Spanish women writers, in addition, featured their points of view on manhood in their works and created a model of masculinity known as virtuous masculinity. They expected Spanish men to perform their masculine duties as protectors and providers both in public and in private. Seventeenth-century decline influenced how women viewed masculinity. Their new model of masculinity was based on ideas that male authors had developed, but went further by emphasizing men treating their wives well.
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Hone, Joseph. "The end of the line : literature and party politics at the accession of Queen Anne." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d847a561-130a-42f0-b78f-2463e9e65535.
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This thesis provides the first full-length account of the political and cultural significance of the accession of Queen Anne. It offers a critical reassessment of the politics of the royal image across a spectrum of texts, events, and artefacts - from panegyrics, newspapers, sermons, royal progresses, and processions to medals, coins, and playing cards. Recent scholarship has emphasized the importance of party politics to the literature and culture of the early eighteenth century. This thesis nuances that assumption by arguing: (1) that the principal focus of partisan texts was competing representations of monarchy; and (2) that the explosion of partisanship at the start of the eighteenth century was triggered by unrest about the royal succession. Anne was the last protestant Stuart. She had no surviving children. This thesis explores how authors such as Daniel Defoe, Joseph Addison, Alexander Pope, and a great many lesser known and anonymous writers and propagandists conceptualized the end of the Stuart dynasty. Anne's accession forced writers to conjecture on the future succession. There were two rival claimants to the throne after Anne's death: the protestant Electress Sophia of Hanover and Anne's Catholic half-brother, James Francis Edward. Sophia's claim was statutory, James's hereditary. Factions emerged in support of both claimants. Almost all topical writing took a stance on the issue. Many sided with the government, supporting Hanover. Yet some writers favoured the illegal but hereditary claim of James Francis Edward; they had to express support in covert ways. This succession crisis triggered not only printed polemic, but also swathes of clandestine manuscript literature circulating in the Jacobite underground. The government took a hard line on Jacobite writers and printers; this thesis documents both their persecution and the techniques they used to evade the law. The thesis concludes by suggesting that this oppositional literary culture only disintegrated after the defeat of the Jacobite rebellion, and the consequent settlement of the Hanoverian succession, in late 1716. After this point, royal succession ceased to be a major source of political discontent.
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Hirsch, Brett Daniel. "Werewolves and women with whiskers : figures of estrangement in early modern English drama and culture." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0175.
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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 figuresowls, bearded women, werewolves, Jewsoccupies 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.
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Langford, Charles K. "Le utopie rinascimentali : esempli moderni di polis perfetta." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102806.
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The citizens of utopian Renaissance cities have in common the confidence in the power of reason and moral virtues. The purpose of the thesis is to prove that, in spite of the imaginative and unreal aspects of these utopian societies, they contain the prodroms of the modern societies.<br>The utopias of the Renaissance are projects of a new commonwealth, based on justice and education. The Italian peninsula of the XVI and early XVII century spawned several works belonging to this literary genre, inspired by Plato's Republic and initiated in England with Thomas More's Utopia (1516). Those considered in this thesis, besides Utopia, are: Francesco Doni's Il mondo savio e pazzo (1552), Francesco Patrizi's La Citta felice (1553), Ludovico Agostini's La Repubblica immaginaria (1580), Tommaso Campanella's La Citta del Sole (The City of the Sun) (1602) and Lodovico Zuccolo's Il Belluzzi (1621).<br>The thesis examines these six main literary works according to the concept of uchronie and escapism, the definitions of utopia by Karl Mannheim, J.C. Davis and Mikhail Bakhtin, the religious and Arcadian elements and the relationship between utopia and satire. The thesis analyzes three essential aspects of the utopian tales: city planning, relationship between man and woman, and education. The utopias of the Renaissance also reveal two different visions: one innovative if compared to the society of the time, and another, post-tridentina, oriented towards a return to more traditional values. The thesis examines the influence of More's work on the utopias of the Renaissance by analyzing and comparing a series of topics, like the title of the work, the narrator, fantastical names and ideas, the role of Plato, property and inequity, the choice of woman and the concept of beauty, daily labor, the function of God, and the concept of law.<br>The utopias of the Renaissance have various modern aspects: a utilitarian justice, a better place of woman in the society, the laicity of the government, the "rationality" of war, secularism, education, health, social justice, assistance to elderly. They also contain myopias, like an unrealistic economic model and a static society.
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Jeffrey, Anthony Cole. "The Aesthetics of Sin: Beauty and Depravity in Early Modern English Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062818/.
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This dissertation argues that early modern writers such as William Shakespeare, Thomas Middleton, George Herbert, John Milton, and Andrew Marvell played a critical role in the transition from the Neoplatonic philosophy of beauty to Enlightenment aesthetics. I demonstrate how the Protestant Reformation, with its special emphasis on the depravity of human nature, prompted writers to critique models of aesthetic judgment and experience that depended on high faith in human goodness and rationality. These writers in turn used their literary works to popularize skepticism about the human mind's ability to perceive and appreciate beauty accurately. In doing so, early modern writers helped create an intellectual culture in which aesthetics would emerge as a distinct branch of philosophy.
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Higgins, Benjamin David Robert. "We have a constant will to publish : the publishers of Shakespeare's First Folio." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:ab876515-5984-46a5-8bf0-8346165fb583.
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This thesis is a cultural history of the publishing businesses that financed Shakespeare's First Folio. The thesis argues that by 1623 each of the four businesses that formed the Folio syndicate had developed an influential reputation in the book trade, and that these reputations were crucial to the cultural positioning of the Folio on publication. Taking its lead from a dynamic new field of study that has been called 'cultural bibliography', the thesis investigates the histories and publishing strategies of the business owned by the stationers William and Isaac Jaggard, who are usually thought of as the leading members of the Folio project, as well as those owned by William Aspley, John Smethwick, and Edward Blount. Through detailed analysis of the publishing strategies of each stationer, the thesis puts forward new theories about how these men influenced the reception of the Folio by transferring onto it their brands, and the expectations of their readerships. The business of each Folio stationer was like a stage with an audience assembled around it, waiting for the next production to emerge. This thesis identifies the publishing activities that attracted the audiences of the Jaggards, Blount, Smethwick, and Aspley, and ultimately suggests the Folio was granted significant legitimacy through the collaboration of these men. After an introductory chapter that locates the thesis in its scholarly field, the first chapter tells the history of syndicated book publishing in England, and reviews what we know of the pre-production process of the First Folio, taking a particular interest in how the publishing syndicate formed. The following chapters then form a series of case studies of the four publishing businesses, reviewing the apprenticeships and careers of each stationer before suggesting how those careers created a context of meaning for the Folio. These case studies focus on the authoritative reference publishing of the Jaggards, the religious publishing of William Aspley, the geographical location of John Smethwick's publishing business beside the Inns of Court, and the cultural achievements of Edward Blount. In conclusion the thesis explores the idea that it was the unique partnership of these businesses that consecrated the Folio as an emblem of literary taste.
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Reynolds, Paige Martin. "Reforming Ritual: Protestantism, Women, and Ritual on the Renaissance Stage." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5439/.
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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.
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Jennings, Emily. "Prophetic rhetoric in the early Stuart period." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:13643178-0544-4b2b-9ca3-55d6c73a5d26.
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This is a study of the political prophecy in England in a period delimited by the accession of King James I (1603) and the end of the Interregnum (1660). It combines the analysis of hitherto obscure manuscript texts with that of printed works to provide a nuanced account of the uses and reception of prophecies in this period. Chapter One (which focuses on the first decade of James's reign) and Chapter Two (which covers the period 1613-19) approach the analysis of dramatic treatments of political prophecy through the study of prophecy both as a rhetorical buttress to the Jacobean state and as a protest genre. Attentive to the elite bias of the legal documents wherein allegedly oppositionist uses of prophecy are recorded, these chapters heed the counsel of historians who have found literary scholars insufficiently suspicious of the rhetoric of these materials. A focus on dramatic texts, neglected by the historians, reveals that Jacobean playgoers were encouraged to regard both official prophetic rhetoric and official rhetoric about prophecy with scepticism. Chapter Three considers how native and continental prophetic traditions were expanded and repurposed in England around the beginning of the Thirty Years' War, when belief in the purportedly inspired status of prophecies was rare but recognition of their utility as a vehicle for political discussion was nonetheless widespread. Chapter Four explores the adaptation and tendentious exposition of medieval, sixteenth-century, and Jacobean manuscript prophecies in printed propaganda for both the royalist and parliamentarian causes in the mid-seventeenth century. This study of literary and archival sources finds that previous scholarship has overestimated the extent of popular faith in the authenticity of allegedly ancient and inspired prophecies in the early Stuart period. The longevity of purported prophecies, it concludes, was ensured through the recognition, appreciation, and exploitation of their rhetorical affordances.
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Kershaw, Alison. "The poetic of the Cosmic Christ in Thomas Traherne's 'The Kingdom of God'." University of Western Australia. School of Social and Cultural Studies, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0085.
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[Truncated abstract] In this thesis I examine the poetics of Thomas Traherne’s often over-looked Christology through a reading of The Kingdom of God. This work, probably written in the early 1670s, was not discovered until 1997, and not published until 2005. To date, no extended studies of the work have been published. It is my argument that Traherne develops an expansive and energetic poetic expressive of the theme of the ‘Cosmic Christ’ in which Christ is understood to be the source, the sustaining life, cohesive bond, and redemptive goal, of the universe, and his body to encompass all things. While the term ‘Cosmic Christ’ is largely of 20th century origin, its application to Traherne is defended on the grounds that it describes not so much a modern theology, as an ancient theology rediscovered in the context of an expanding cosmology. Cosmic Christology lies, according to Joseph Sittler,“tightly enfolded in the Church’s innermost heart and memory,” and its unfolding in Traherne’s Kingdom of God is accomplished through the knitting together of an essentially Patristic and Pauline Christology with the discoveries and speculations of seventeenth century science: from the infinity of the universe to the workings of atoms. … The thesis concludes with a distillation of Traherne’s Christic poetic The Word Incarnate. The terms put forward by Cosmic Christology are used to explicate Traherne’s intrepid poetic. In his most remarkable passages, Traherne employs language not only as a rhetorical tool at the service of theological reasoning, but to directly body forth his sense of Christ at the centre of world and self. He promises to “rend the Vail” and to reveal “the secrets of the most holy place.” Scorning more “Timorous Spirits,” he undertakes to communicate and “consider it all.”
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Allsopp, Niall. "Turncoat poets of the English Revolution." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:72c956c3-ec8b-4b07-ad91-a05b0e72fd39.
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Edmund Waller, William Davenant, Andrew Marvell, and Abraham Cowley were royalist poets who changed sides following the English Revolution, attracted to Cromwellian military power, and the reforming aims of the Independents. This thesis contributes to existing scholarship by showing that the poets engaged strongly with theories of allegiance, self-consciously returning to first principles - the natures of sovereignty and obligation - to develop a concept of allegiance that was contingent and transferrable. Their crucial influence was Hobbes. Hobbes collapsed partisan perspectives into a general theory of sovereignty constituted by a de facto protective and coercive power; this was grounded on a psychological analysis of humans' restless appetite for power. The poets' approach to Hobbes was crucially mediated by Machiavelli, who provided a less abstract account of the relationship between individual agency and collective institutions, and whose concept of virtù offered a model for how restless ambition could be harnessed to political order. An introductory chapter sketches out the intellectual background to this body of theory and reflects on the methods used to show how the poets dramatized it in their works. Chapter two considers the disintegration of Waller's courtly poetry under the pressure of civil war, and his resulting turn to rationalist theory. Chapters three and four focus on the immediate aftermath of the revolution, considering the synthesis of Hobbes' and Machiavelli's theories of military power ventured by Davenant, and the influence of Davenant's ideas on Marvell's Machiavellianism. Chapter five focuses on Cowley and his more religiously-inflected account of Hobbesian psychology and political obligations. Chapter six asks how the poets responded to the Restoration of Charles II, and in particular charts their influence on the younger poet John Dryden. With their emphasis on materialist psychology, the turncoat poets abandoned allegory in favour of a mode of dramatization which observed the contingent circumstances in which allegiances could be generated, dissolved, and transferred. They possessed a political conservatism, but a conceptual radicalism which presented a serious challenge to Anglican and constitutionalist discourses of Stuart monarchy.
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Lyon, Nicole M. "Between the Jammertal and the Freudensaal the existential apocalypticism of Paul Gerhardt (1607-76) /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1243366861.
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Thesis (M.A.)--University of Cincinnati, 2009.<br>Advisor: Richard Schade. Title from electronic thesis title page (viewed Aug. 12, 2009). Includes abstract. Keywords: Early Modern Germany; Paul Gerhardt; Apocalypticism; Protestant Hymns; Revelations; 17th Century; Thirty Years' War; Poetry; Protestantism. Includes bibliographical references.
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Taylor, Helena. "The lives of Ovid : secrets, exile and galanterie in writing of the ‘Grand Siècle’." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4571c071-a499-44e7-a870-ed747d69bdc5.
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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.
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Tanner, Jane Hinkle. "Sharing the Light: Feminine Power in Tudor and Stuart Comedy." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278551/.
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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.
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McKimpson, Karl. "Going Commercial: Agency in 17th Century Drama." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20412.
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This dissertation’s aim is to reveal how essential economic mechanics were to playwrights when it came to depicting agency. Rising commercialization in the seventeenth century prompted playwrights to appropriate market behaviors in London as a new discourse for agency. Commerce serves as a metaphor for every part of daily life, and a new kind of “commercial” agency evolves that predicates autonomy upon the exchange networks in which a person participates. Initially, this new agency appears as a variation on the trickster. By the end of the century, playwrights have created a new model for autonomy and a new kind of hero to employ it: the entrepreneur. My chapters chart the defining points in the development of commercial agency, each with a representative text or texts. In chapter II, I analyze how the Jacobean gallant, a variation on the trickster, sells himself as a desirable commodity to gain wealth and influence, the conditions he needs to liberate himself and control his own destiny (Eastward Ho). Chapter III examines characterizations of businesswomen in seventeenth century drama, one of the primary shifts in tone that accompanied the development of commercial agency as playwrights became more skilled in its portrayal (Antony and Cleopatra). Frequently regarded as prostitutes in Elizabethan plays, entrepreneurial women are often seen in later periods as dramatic, even tragic, heroes. When the stage closed during the years of 1642-1659, the print market was playwrights’ main source of income, and it was soon adapted to promote drama and ensure its future production. Chapter IV suggests that the success of William Davenant’s The Siege of Rhodes was due to how its preface implicated customers of the print edition in its stage production. Chapter V marks the emergence of the entrepreneurial rake as a romantic and comic hero. The chapter argues that the egalitarian haggling that ends The Man of Mode and The Rover, which is conspicuously absent from The Country Wife, is presented as the ideal basis for any loving, successful, and profitable marriage.
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Sribnai, Judith. "Figurations et relations : le sujet dans les romans à la première personne et les textes philosophiques du XVIIe siècle." Thèse, Paris 4, 2011. http://hdl.handle.net/1866/6924.
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Cette thèse a pour objectif de déterminer quelques aspects des figurations du sujet au XVIIe siècle à travers une lecture conjointe des romans à la première personne et des textes philosophiques de cette période. Partant de questionnements proches, ces deux genres discursifs construisent une figure du sujet savant et itinérant : être animé d'un désir de connaissance et amené à repenser les conditions d'énonciation de son expérience particulière. Pour les auteurs du corpus, la vérité se découvre au fil d'expériences singulières si bien que dire le monde avec exactitude revient à l'énoncer à la première personne, à en rendre une perception d'abord subjective. Se pose alors le problème de la légitimation de l'énonciation personnelle, légitimation qui permet d'articuler la première personne à une altérité tout en conservant la singularité du sujet. Cette singularité se double toujours d'une dispersion des identités du sujet et des référents de la première personne. Mais narration, fiction et usages du corps figurent cette identité en constellation. Les deux premières exposent la diversité des visages du « je », leurs concordances ou leurs discordances, à la fois être passé et présent, homme réel et personnage imaginaire, narrateur et auteur. Dans les usages liés aux peines et aux plaisirs du corps se dessine une autre forme de rencontre possible entre la particularité du sujet et l'autre : celui qu'il désire, avec lequel il souffre, avec lequel il jouit, qui vit en lui. Par tous ces aspects, énonciatif, narratif, fictionnel, physique, la subjectivité construite par les textes est toujours et essentiellement une relation : récit raconté pour rejoindre autrui.<br>The objective of this thesis is to set out several aspects of the figuration of the subject in the 17th Century, through a joint reading of first person novels and philosophical texts from this period. Beginning with similar questions, these two discursive genres construct a figure of a knowing and itinerant subject, a subject animated by the desire to know and thus guided to rethink the conditions that articulate his particular experience. For the authors of these works, the truth is discovered through a series of singular experiences and experiments; the world more clearly announces itself in the first person, rendering a principally singular perception. This poses the problem of the legitimation of personal pronouncement, legitimation which allows for the articulation of the first person with an alterity, while conserving the singularity of the subject. This singularity always doubles as a dispersion of the identities and referents of the first person. Still, narration, fiction and corporal practice show this identity as constellation. The first two expose the diverse faces of the ‘I’, their agreements and disagreements, their being at the same time past and present, real persons and imaginary characters, narrator and author. From the practices tied to the pain and pleasure of the body is drawn another form of possible encounter between the particularity of a subject and an other: the one he desires, with whom he suffers and plays, the one who lives in him. Through all these aspects, enunciative, narrative, fictional, physical, the subjectivity that is inscribed in and described by these texts is always primarily relational: an account recounted to encounter the other.
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Spencer, Justina. "Peeping in, peering out : monocularity and early modern vision." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:b8854565-ce57-4c83-9cdb-64249d171142.
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One of the central theoretical tenets of linear perspective is that it is based upon the idea of a monocular observer. Our lived perception, also referred to in the Renaissance as perspectiva naturalis, is always rooted in binocular vision, however, the guidelines for perspectiva artificialis often imply a single peeping eye as a starting point. In the early modern period, a number of rare art forms and instruments follow the prescriptive character of linear perspective to ludic ends. By focusing on this special class of what I would call 'monocular art forms', I will analyse the extent to which the perspectival method has been successfully applied in material form beyond the classic two-dimensional paintings. This special class of objects include: anamorphosis, peep-boxes, catoptrics, dioptric perspective tubes, and perspective instruments. It is my intention to draw attention to the different ways traditional perspectival paintings, exceptional cases such as perspective boxes and anamorphoses, and optical devices were encountered in the early modern period. In this thesis I will be examining the specific sites of each case study in depth so as to describe the various contexts - aristocratic, intellectual, religious - in which these items circulated. In Chapter 1 I illustrate a special class of perspective and anamorphic designs that confined their illusions to a peepshow. Chapter 2 examines one of the most consummate applications of the monocular principle of perspective: seventeenth-century Dutch perspective boxes. In Chapter 3, monocular catoptric designs are studied in light of the vogue for mirror cabinets in the seventeenth century. Chapter 4 examines the innovative techniques of drawing machines and their collection in early modern courts through close study of the 'perspectograph'.
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Saunders, Austen Grant. "Marked books in early modern English society (c.1550-1700)." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648630.
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Kirk, Maria. "Performing consumption and consuming performance : a 17th century play collection." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61894/.
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This thesis explores the relationship between performance and consumption in relation to play collection in the 1630s, and also examines the wider contexts of performance and consumption in that decade. It proposes that the 1630s were a decade characterised by particularly self-conscious performances of consumption, and that this environment contributed directly to the beginnings of the collection of books for display purposes. A focus on the Petworth collection and its original collector is maintained throughout the thesis, which weaves together the material and literary content of the collection. Using material evidence from the volumes themselves, this thesis demonstrates that the collection was purchased in 1638 by the 10th Earl of Northumberland through an agent who assembled the collection specifically for the Earl just prior to his purchase of it. It also demonstrates, again using evidence from the volumes themselves, that the purchase was partly informed by principles of education, personal taste and a consideration for family history, but that the overwhelming motive was the drive to consume and to perform that consumption. Using the literary content of the collection to explore representations of performed consumption, this thesis tracks the development of the conceptualisation of consumption on the stage from the wariness about dangerous consumption in the late Elizabethan period to the much more open, and yet still rather complex, attitudes of the 1630s. Finally, the thesis discusses some other kinds of public, performed consumption, including a procession by Northumberland and an entertainment with which he was connected, exploring the explicitly social elements of performance. The Petworth play collection is at once anomalous and typical as an example of mid-17th century book collection, and it can be used to illustrate and map the multitude of issues, concepts and attitudes which surround performance, consumption and collection in the 1630s, and beyond.
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Henderson, Felicity 1973. "Erudite satire in seventeenth-century England." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7999.
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Schürger, André. "The archaeology of the Battle of Lützen : an examination of 17th century military material culture." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6508/.
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In the late 20th century, historical research on the 1632 Battle of Lützen, a major engagement of the Thirty Years War (1618-1648), came to a dead end after 150 years of mostly unfruitful discussions. This thesis examines the battle’s military material culture, including historical accounts and physical evidence in the form of archaeological finds from the battlefield to provide new insight into the battle’s events, but also to develop a methodology which allows a comparison between two very different sources: the eyewitness account and the ‘lead bullet.’ To achieve this aim, the development of 17th century firearms is highlighted through an assessment of historical sources and existing weapons and by an evaluation of various collections of ‘lead bullets’ from Lützen and other archaeological sites, thus providing a working baseline for interpreting bullet distribution patterns on the battlefield. The validity of bullet distribution patterns is also dependant on the deposit process during the battle and metal detector survey methodologies, which also provides vital information for battlefield surveys in general. In an overarching methodology, statements from battle eyewitnesses are evaluated and compared to bullet distribution patterns, in conjunction with the historic landscape, equipment and tactics. Together, these ultimately lead to a better understanding of the battle and its historic narrative, by asking why reported events actually did not happen at Lützen. This last element is also important for understand the reliability of early modern battle accounts in general. Overall, a more general aim of this case study has been to provide a better insight into the wider potentials of early modern battle research in Europe.
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Radway, John North. "The Fate of Epic in Twentieth-Century American Poetry." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718713.
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This dissertation explores the afterlife of the Western epic tradition in the poetry of the United States of America after World War Two and in the wake of high modernism. The ancient, Classical conception of epic, as formulated by Aristotle, involves a crucial, integral opposition between ethos, or character, and mythos, or the defining features, narratives, and histories of the world through which ethos moves. The classical epic and its direct line of succession, from Homer to Virgil to Dante to Milton and even to Joel Barlow, uses the opposition between ethos and mythos to create literary tension and drive. In the first half of the twentieth century, however, Ezra Pound upended this tradition dynamic by attempting to create a new form of epic in which mythos, not ethos, was the principal agonist, and in which large-scale aspects of the political, literary, and economic world struggled for survival on their own terms, thus divorcing epic from its traditional reliance on ethos. Chapter One explores this dubious revolution in terms of Pound’s larger project of breaking away from his nineteenth century forbears. The remaining chapters comprise three case studies of the divergent ways in which later twentieth century poets sought to salvage something of the traditional epic dynamic from the ruin wracked by Pound and his acolytes. Chapter Two explores John Berryman’s 77 Dream Songs, an epic-like poem that models itself subtly on Dante’s Commedia while placing a profound and deliberate emphasis on ethos even at the expense of mythos. Chapter Three explores Robert Lowell’s career-long effort to expose the terrifyingly inexorable nature of mythos, constructing an inconceivably enormous presence against whom character and divinity alike struggle in vain. Finally, Chapter Four examines Adrienne Rich’s early and middle years as an attempt to outline and enact a politically and socially efficacious means by which ethos might finally overcome mythos and liberate itself not only from the recursive historical traps of Pound, modernism, fascism, and patriarchy, but also from the literary history and tradition that lured humanity into believing that those traps ever existed. Berryman’s intervention in the epic tradition is heavily literary and overtly personal; Lowell’s is cynical, apocalyptic, and descriptively political; and Rich’s is revolutionary and messianic. Together, these three poets represent a meaningful sampling of the afterlife of the epic tradition in late twentieth-century America.<br>English
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Xu, Sufeng. "Lotus flowers rising from the dark mud : late Ming courtesans and their poetry." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.
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The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.<br>Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.<br>In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.<br>This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.
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Bryant, Cheney Matt. "Modern Charity: Morality, Politics, and Mid-Twentieth Century US Writing." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/101.
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Scholars over the past two decades (Denning, Szalay, Edmunds, Robbins) have theorized the different ways literature of the Mid-Twentieth Century reflects the dawn of the liberal US welfare state. While these studies elaborate on the effect rapidly expanding public aid had on literary production of the period, many have tended to undervalue the lingering influence on midcentury storytelling of private charity and philanthropy, those traditional aid institutions fundamentally challenged by the Great Depression and historically championed by conservatives. If the welfare state had an indelible impact on US literatures, so did the moral complexity of the systems of charity and philanthropy it purportedly replaced. In my dissertation, I theorize modern charity as a cultural narrative that found expression in a number of different writers from the start of the Great Depression and into the early 1960s, including Harold Gray, Ralph Ellison, W.E.B. Du Bois, Flannery O'Connor, and Dorothy Day.
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Young, William H. "The long way home: Studies in twentieth century romanticism." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279778.
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These studies trace the development of a mid-twentieth century romanticism, a Neo-Romanticism distinct from both an earlier High Romanticism and a later Postmodernism. The focus is on six twentieth century writers, all but one American: D. H. Lawrence (English), Paul Bowles, Robert Lowell, John Ashbery, William Stafford, and Tim O'Brien. Neoromantics seek to relandscape the derealized self by venturing outward; venturing outward they both empty and refurbish the self. By pursuing a new self or taking an extreme course--that is, the long way home--they come to an unexpected conclusion: they discover the illusion of liberty, of democracy, of self-agency, and thus the great truth of old orders, deeper than tradition.
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Fowler, Adrian. "Distinct society: Cultural identity in twentieth-century Newfoundland literature." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/28954.
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This thesis examines selected representations of Newfoundland cultural identity in twentieth century Newfoundland literature from Norman Duncan, E. J. Pratt and George Allan England to Bernice Morgan, Patrick Kavanagh and Wayne Johnston. The discussion is located within a broad context of popular and scholarly writings on the subject and a conceptual framework influenced by Benedict Anderson's book Imagined Communities and Seamus Heaney's essay "The Sense of Place." Nineteenth century attempts to maintain the distinctiveness of Newfoundland identity were politically motivated by advocates of home rule, civil liberties and sovereignty, and constituted part of the rhetoric and mobilization that resulted in responsible government and dominion status for the colony. In the twentieth century, a variety of writers addressed the subject, some from the perspective of visitors, others from the perspective of residents. Early in the century, this resulted in representations in the heroic mode that focussed upon the struggle of outport Newfoundlanders to wrest a living from the sea. At mid-century, this myth of heroic Newfoundland was supplanted by the romantic myth of the old outport in which the community life of Newfoundland coastal villages was recorded and extolled. By the 1970s, the outports had become symbolic of Newfoundland but by this time they were also beset by enormous changes brought about by the Second World War, Confederation with Canada, and government policies of industrialization and resettlement. Some writers responded by intensifying explorations of the cultural roots of the province in the traditional life, others addressed the challenges of the present, which included issues of neo-colonialism and economic imperialism as well as cultural dislocation. In all of this, Newfoundland writers contributed in significant ways to the imagining of their community and the survival of a country of the mind.
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Mastag, Horst Dieter. "The transformations of Job in modern German literature." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30647.
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In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977).
The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic.
The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.<br>Arts, Faculty of<br>Central Eastern Northern European Studies, Department of<br>Graduate
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Cast, Andrea Snowden. "Women drinking in early modern England." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phc346.pdf.
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Includes bibliographical references (leaves 320-415) Investigates female drinking patterns and how they impacted on women's lives in the sixteenth and seventeenth centuries in early modern England. Deals with female drinking as a site of contention between insubordinate women and the dominant paradigm of male expectations about drinking and drunkeness. Female drinking patterns integrated drinking and drunkeness into women's lives in ways that enhanced bonding with their female friends, even if it inconvenienced their husbands and male authorities. Drunken sociability empowered women.
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McMullen, Maram George. "Irish Women Poets of the Twentieth Century and Beyond| Voices from the Margin." Thesis, King Saud University (Saudi Arabia), 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3576677.
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<p> This dissertation study explores the rise of Irish women poets of the twentieth century, in particular Eavan Boland from the southern Republic of Ireland and Medbh McGuckian from Northern Ireland. It investigates the birth of Irish Feminist Literary Theory and Irish Postcolonial Literary Theory and uses these two theories to analyze the poetry found therein. This project shows that, unlike Irish women novelists and playwrights, Irish women poets were excluded from the Irish canon until poets such as Boland and McGuckian destabilized their once rigid national literary tradition and challenged it to include women as both authors and subjects of the Irish poem. In addition to challenging their patriarchal literary tradition, Irish women poets of the twentieth century also drew attention to the lingering effects of British colonial rule in Ireland, demonstrating that Irish women poets were doubly colonized and doubly marginalized. As a result, their poetry features two distinct voices: one which speaks for the women who were silenced in Ireland and one which raises postcolonial issues. By challenging the hegemonic power structures which dominated them, Boland and McGuckian paved the way for the Irish women poets who followed, including Mary O'Malley from the Republic of Ireland and Sinéad Morrissey from Northern Ireland. For the most part, Irish women poets of the twenty-first century have managed to let go of the trauma of colonization—both patriarchal and imperial—and have created a new hybrid national identity, a Third Space, which has liberated their work. This hybridity has broadened the vision of the Irish poem which now features a new global voice.</p>
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Richardson, C. Scott. "Taking the repeats: Modern American poetry in imitation of eighteenth-century musical forms." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/9311.
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This dissertation surveys the various efforts by modern American poets to imitate the repetitive structures of eighteenth-century instrumental music, setting in a wider historical context some of the central achievements of the twentieth-century long poem, as well as offering readings of some lesser-known but interesting works that draw on musical structures and processes as their formal models. The introduction examines why such disparate poets have wished to organize their work through some analogue to musical form. Taking their cues from western instrumental composition, writers have let the shapes of their poems be determined not by the demands of narrative for succession or the demands of discursive argument for progressive development but instead by music's repetitive imperative. In musical structures such as the variation set, the fugue, and the sonata, poets found constructive techniques congenial to the twentieth-century mind. Eighteenth-century musical genres can be seen as anticipating in a remarkable manner modern ideas concerning the circular patterns of thought and experience. The first chapter examines poetry modeled on the variation set, surveying works by Randall Jarrell, Wallace Stevens, Harry Mathews, Charles Olson, and Frank O'Hara. The second chapter deals with poetic fugues, including works by May Sarton, William Bronk, Weldon Kees, Delmore Schwartz, and Sylvia Plath. It also examines the validity of fugal analogies at both the macro- and micro-level of analysis in two key modern long poems, Ezra Pound's Cantos and Louis Zukofsky's "A". The final chapter examines poetic versions of sonata forms, including the sonata-based genres of symphony and quartet. It deals with works by Donald Justice, Conrad Aiken, John Gould Fletcher, Stevens, W. C. Williams, and John Ashbery. T. S. Eliot is central to the discussion: the chapter reexamines the validity of musical analogy in relation to Four Quartets and places Eliot's achievement in historical context, as a culmination of earlier currents and as a dominant presence in later musically-patterned poetry.
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Lagapa, Jason S. "Inarticulate prayers: Irony and religion in late twentieth-century poetry." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280295.
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Inarticulate Prayers: Irony and Religion in Late Twentieth-Century Poetry examines irony and its implications for religious belief within texts ranging from the New York School Poets to the Language Poets and, in Caribbean literature, within the poems of Derek Walcott and Kamau Brathwaite. Taking Jacques Derrida's distinction between deconstruction and negative theology as a point of departure, I argue that contemporary poets employ ironic language to articulate an ambivalent, and skeptical, system of belief. In "How to Avoid Speaking: Denials," Derrida contrasts his theory of differance--as a fundamentally negative and critical mode of inquiry--with negative theology, which ultimately affirms God's being after a process of negation. My study asserts that contemporary poets, in accord with principles of negative theology, engage in inarticulate, self-canceling and negative utterances that nevertheless affirm the possibility of belief and enlightenment. By postulating the affinity between contemporary poets and the apophatic tradition, I explain how the work of these poets, despite often being dismissed as arid exercises in poststructuralist thought, productively draws on linguistic theories and also advances beyond the "negativity" of such theories. Moreover, as it intervenes in recent debates over the absence of a spiritual dimension to contemporary poetry, my dissertation opens new perspectives through which to theorize postmodern literature. Demonstrating that experiments in language and form are driven by an ironic stance towards belief, authorship and literary tradition, Inarticulate Prayers ultimately redefines contemporary lyric and narrative poetry and asserts negation, inarticulateness, and contradiction as determining characteristics of postmodern writing.
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Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.
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Gairn, Louisa. "Aspects of modern Scottish literature and ecological thought." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14839.
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'Aspects of Modern Scottish Literature and Ecological Thought' argues that the science and philosophy of 'ecology' has had a profound impact on Scottish literature since the mid-nineteenth century to the present day, and relates the work of successive generations of Scottish writers to concurrent developments in ecological thought and the environmental sciences. Chapter One suggests that, while Romantic ways of thinking about the natural world remained influential in nineteenth-century culture, new environmental theories provided fresh ways of perceiving the world, evident from the writings of Scottish mountaineers. Chapter Two explores the confrontation of modernity and wilderness in the fiction and travel writings of Robert Louis Stevenson, and some contemporaries such as John Muir. Chapter Three suggests that ecologically-sensitive local and global concerns, rather than 'national' ones per se, are central to the work of Hugh MacDiarmid, Lewis Grassic Gibbon and others, while Chapter Four demonstrates that post-war 'rural' writers including Nan Shepherd, Neil Gunn, Edwin Muir and George Mackay Brown, often viewed as peripheral, are actually central and of international relevance, and challenges the assumption that there is a fundamental divide between Scottish rural and urban writing. Finally, Chapter Five argues that contemporary writers John Burnside, Kathleen Jamie and Alan Warner are not only reviewing human relationships with nature, but also the role writing has to play in exploring and strengthening that relationship, helping to determine the ecological 'value' of poetry and fiction. By looking at Scottish literature through the lens of ecological thought, and engaging with international discourses of 'Ecocriticism', this thesis provides a fresh perspective in contrast to the dominant critical views of modern Scottish literature, and demonstrates that Scottish writing constitutes a heritage of ecological thought which, in this age of environmental awareness, should be recognised as not only relevant, but vital.
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Marchant, Katrina. "Things 'necessary' and 'unnecessary' : trash and trifles in early modern England, 1519-1614." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/55175/.
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This thesis investigates the shifting representation of trash and trifles in the literature and art of sixteenth and early seventeenth century England. It connects previously disparate critical fields – religion, politics, national identity, travel, literary criticism – in order to offer new perspectives on the period. The investigation of the terms ‘trash' and ‘trifles' at the centre of this project reinstates a crucial literary perspective to the historical study of early modern England's crises in spiritual and material value, whilst retaining a keen awareness of the importance of interconnected historical contexts ranging from the mercantile to the spiritual and the cultural. I have traced the connected development of the terms trash and trifles across the period 1519-1614, and closely examined their use in response to various crises in value, whether spiritual or mercantile. How writers of polemic and drama develop a language in which to articulate such crises, and the ways in which that language necessarily combines elements of both the spiritual and the mercantile, is a central theme. Key elements of this development are marked by Queen Katherine Parr's invective about the mercantile corruption of spiritual treasure with material papal ‘tryfles'; Sir Thomas Smith's assertion of the spiritual immorality of material ‘trifles'; Thomas Harriot and John White's presentation of the mercantile and spiritual benefit of exporting trash and trifles to the New World; and in the staging of trash and trifles in a series of late sixteenth and early seventeenth century plays which, I argue, were in part designed to mount a defense against anti-theatrical allegations regarding the effeminate valuelessness of playing. This thesis illustrates how the deployment of the terms trash and trifles in early modern England can be productively used to trace the shaping of the Protestant English commonwealth as a destinct, secure and valuable entity in an unstable and increasingly global post-Reformation world.
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Neidenbach, Elizabeth Clark. "The Woman, the Legend, the Power: Fictional Representations of Marie Laveau in Twentieth-Century Literature." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539626474.
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Siedina, Giovanna. "The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007.
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For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace's Ars poetica. The second aspect is the use of Horace's poetry as a model of word usage, tropes, rhetorical figures, and metrical schemes. Finally, the last important aspect of the reception of Horace is how his works could be imitated and his words or dicta borrowed in the composition of poetry, in which students were expected to exercise as part of the poetics course.
The research draws the conclusion that Horace's legacy was of paramount importance in the manuals analyzed: on the one hand the Mohylanian poetics teachers' tendency (after Renaissance literary theorists and critics) to consider poetry within rhetorical categories rendered Horace's Ars Poetica extremely congenial to them. On the other, Horace's ideas were extrapolated from their original context and at times modified to serve a moralistic and "utilitarian" conception of poetry, which considered the latter as an instrumental science that served the ends of moral philosophy. With its metrical virtuosity and brilliant verbal craftsmanship, Horace's poetry provided an excellent model for the introduction of Christian content.
The analysis of the way pagan authors (Horace first and foremost) were elaborated in a Christian key in the poetry composed by Mohylanian teachers and pupils indicates that education (and with it the assimilation of the Classics) at the KMA was not extraneous to the integration of ancient learning in Christian thinking as it took place in the different confessional schools of contemporary Western Europe.<br>Slavic Languages and Literatures
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Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.
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Cottle, Brent. "Superfluous absence: The secret life of the author in twentieth-century literature and film." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279822.
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Superfluous Absence examines how writers of fictional narratives imagine readers that might read their texts and use these imagined readers--and the voices they represent--as leavening agents for the fictions they produce. In this theory, writers do not appeal to these readers except as they function as language and its desire to be decoded--as they function as language's desire for itself. Ultimately, the texts of fiction reach real-life readers and Superfluous Absence traces how authors struggle with the leavening agent of the reader's voice when the reader's voice becomes an actual social presence in an actual historical moment. This struggle consists of writers trying to preserve a non-space, and readers try to turn this non-space into praxis and presence. In Superfluous Absence I trace this struggle in James Joyce's Finnegan's Wake, Samuel Beckett's trilogy of Molloy, Malone Dies, The Unnamable and Stephen King's Misery . I also explore what happens to this reading desire when it is translated into a visual format, as is so often the case in the twentieth-century when literature is adapted into film. The test case is Stanley Kubrick's 2001: A Space Odyssey, an appropriate choice as it is a movie that tries to eradicate the linguistic in favor of the purely visual. Finally, this project is not just an objective charting of the various locations and non-locations of the writer's voice in twentieth-century fiction and film, but is also a very subjective attempt on the part of this writer to understand the presence or non-presence of his authorial voice in acts of fiction. Therefore, the author of this dissertation frequently writes autobiographically and frequently turns his critical voice into the voice of fictional narration.
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Kong, Wai-ping Judy, and 江偉萍. "Gender and sexuality in modern Shanghai: Chinese fiction of the early twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245432.
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Mills, Andrew Joseph. "Escaping satisfaktion dueling violence and the German literary canon of the long 19th century /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378372.
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Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2009.<br>Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3870. Adviser: William Rasch.
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Richardson, Scott. "Taking the repeats: Modern American poetry in imitation of eighteenth-century musical forms." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/20986.
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Moudry, Nick. "A Foreign Mirror: Intertexts with Surrealism in Twentieth-Century U. S. Poetries." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/202600.
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English<br>Ph.D.<br>In the latter half of the twentieth-century, fewer U. S. poets translated foreign poetry than their modernist predecessors. The scope of their translation projects correspondingly narrowed. Gone, for example, were projects like Ezra Pound's reaching back to thirteenth-century Italy to see how U. S. poets could push forward. Instead, translations of European and Latin American modernism prevailed. Often, multiple translations of the same author were produced by different translators at the expense of presenting a more well-rounded vision of national literatures. Of these translations, a surprisingly large number were of poets who were either loosely or explicitly connected to surrealism as a literary movement. This dissertation locates this explosion of interest in surrealism as an attraction to the surrealist emphasis on reconciling binaries. This emphasis allows American poets a convenient frame through which to confront the difficult questions of place and nation that arise as the U. S. position in the field of world literature shifts from periphery to core. Previous researchers have traced the history of surrealism's early reception in the United States, but these studies tend to not only focus on the movement's influence on American art, but also stop shortly after surrealist expatriates returned to Europe following WWII. This dissertation extends these approaches both by bringing the conversation up to the present and by examining the key role that translation and other forms of rewriting play in mediating the relationship between surrealism and American audiences. As surrealism enters the U. S. literary system, the transformed product is often not what one might expect. U. S. rewritings of surrealist literature are primarily carried out by poets and critics whose fundamental interest in the movement lies in finding a foreign mirror for their own aesthetic or ideological preoccupations. This in turn provokes the development of a strand of surrealist-influenced writing whose aims and goals are vastly different from those of the movement's founders.<br>Temple University--Theses
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Mann, Alastair. "The book trade and public policy in early modern Scotland c.1500-c.1720." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2200.
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Few historians would question the importance of national literature to the understanding of national history. Less frequently, especially in Scottish history, is equal attention given to the print medium. Publishing and the book trade represent a complex cocktail of conscience and commerce, of ideology and industry, and one of the tensions within the study of publishing, especially in the turmoil of the early modern period, is the assessment of motive underpinning the act of publication. Two objectives are sought in this research of the book trade of Scotland c1500 to c1720. The degree, scale, structure and financial basis of the book trade are considered. In particular, data obtained from a large number of existing and new references to individual booksellers and printers has been accumulated in order to establish the extent, development, and general pattern of commerce. Secondly, the interaction of public policy and the book trade is explored with separate chapters on the policy of the burghs, the church and the government. As part of government control close scrutiny is given to the law of publishing with chapters devoted to copyright and censorship, two themes for which adequate Scottish study is long overdue. In addition, a bridging chapter is included dealing with trade links between Scotland and the Low Countries, and this reflects vividly the conflicting demands of permission and prohibition for book merchants and book regulators. The research comes to two apparently contrasting conclusions. The book trade of early modern Scotland was in many respects similar to those of other European nations at this time, especially England and the Low Countries. The desire for profit and intellectual improvement, but also adequate controls, were common to all literate societies. Equally, although the beaches of Scottish print culture were battered by the influences of Dutch and English commercial, legal and administrative conventions, Scotland developed its own unique relationship to the printed word - a Scottish tradition.
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Ip, Sui-lin Stella, and 葉瑞蓮. "The phenomena of post-modern culture in contemporary Chinese literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245390.
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Miller, Robin A. (Robin Annette). "The Prologue in the Seventeenth-Century Venetian Operatic Libretto: its Dramatic Purpose and the Function of its Characters." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277705/.
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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.
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Laverick, Jane A. "A world for the subject and a world of witnesses for the evidence : developments in geographical literature and the travel narrative in seventeenth-century England." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/2250.
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In the latter half of the seventeenth century, the first-person overseas voyage narrative enjoyed an unprecedented degree of popularity in England. This thesis is concerned with texts written by travellers and the increasing perception that such information might be useful to those engaged in newly-developing scientific specialisms. It draws upon a wide range of texts including geographiae, physico-theological texts, first-person voyage narratives and imaginary voyage prose fictions. The main focus of the thesis is on the movement away from traditional encyclopaedic geographical textbooks whose treatment of non-European countries comprised an amalgam of unattributed information and a mass of traditional and erudite beliefs, towards a priontising of eyewitness accounts by named observers. Following an introductory survey of the production of an indigenous body of geographical literature in England, the first chapter traces the decline in popularity of traditional geographiae and the separation of regional description from general theories of the earth. The second chapter shows how in the Restoration period the concerted efforts of Fellows of the newly-established Royal Society resulted in a significant increase in the number of overseas travel narratives being published. The third chapter looks at the way in which the Royal Society's campaign developed from its initiation in 1666 to the close of the century, focusing on the response of travellers to the Society's requests for information. The fourth chapter considers the way in which earlier accounts were advertised as fulfilling contemporary expectations of this type of discourse. The fifth and sixth chapters concern fictitious voyage narratives. Imitative of a genre the value of which was increasingly seen as residing in its veracity, these fictions adapted in accordance with the changes being introduced to real voyage accounts whilst continuing to perpetuate the archaic myths and traditional beliefs which had been ehminated from factual geographical description. Appended to the thesis is a list of accounts of voyages and travels outside Europe, printed in the Philosophical Transactions (1665-1700). Also listed are reviews and abstracts of geographical texts, inquiries concerning specific locations and directions and instructions aimed at seamen, with brief biographical information about the authors to indicate the range of contributors to that journal.
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Mitchell, Sarah. "The Kunstkammer object in seventeenth-century Salzburg : a case study, early modern collections, transformation and materiality." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83130.
Full textAbstract:
The phenomenon of princely and scientific collections that proliferated in Europe during the sixteenth and seventeenth centuries has become an important focus for modern historical analysis. These collections provide a microcosm of contemporary political, economic and philosophical ideas, often characterized by geographical and cultural differences. The mid-seventeenth century Kunst- and Wunderkammer studied here, instituted by the archbishops of Salzburg, brings forward themes sometimes neglected in the literature. The archbishops' collection was part of broader efforts to reinvent the city of Salzburg as a representation of both sacred and secular authority. Strategies for significant display were derived from religious and imperial ritual, drawing on the potential of objects as signifiers. In this context, I also examine some of the debates within the literature on princely and scientific collections, where the study of wonder and science begins to merge in cross-disciplinary scholarship. Finally, I highlight the role of transformation and materiality in these collections to argue that the act of collecting objects and the act of making were imbricated in the process of self-definition. Within themes of technology and process, I investigate the pursuit of creating Kunstkammer objects, as well as the business of their display and use in diplomacy.
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MacKenzie, Garry Ross. "Landscapes in modern poetry : gardens, forests, rivers, islands." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.
Full textAbstract:
This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.