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Dissertations / Theses on the topic 'Milton, John. Milton, John Milton, John'
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1
Mattern, Frank. "Milton and Christian Hebraism : forms and functions of Rabbinic Exegesis in 'Paradise Lost' /." Heidelberg : Universitätsverl. Winter, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3240965&prov=M&dok_var=1&dok_ext=htm.
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Ronnow, Gretchen Lyn. "John Milton Oskison: Native American modernist." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186243.
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The works of John Milton Oskison, Cherokee writer, originally published in popular magazines, have been out of print since the 1920s. Oskison's stories have often been dismissed as sentimental and lacking a Native American focus; a more diligent reading, however, shows subtle and complex Native American motifs and concerns. John Oskison was born in Indian Territory in 1874, attended Willie Halsell College, Stanford and Harvard Universities, and then began to write for major New York magazines. It was not necessarily popular nor politically advantageous at that time to be known as Indian, especially if one wished to influence public opinion as a journalist. Oskison's Native American point of view and sympathy are strongly coded in the text, embedded in narrative displacements and rhetorical silences. His are "writerly" texts; at the most superficial level readers may see only populist and assimilationist "messages," but the narrative complexities belie such easy readings. Oskison grappled with the issues of being a highly educated mixed-blood trying to defend a tribal heritage while speaking in the most public arenas. This dissertation is a critical examination of the way this struggle manifests itself in his literary production.
3
Tredennick, Linda Breton. "Protestant figures : Milton and the reformation of allegory /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061969.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 212-219). Also available for download via the World Wide Web; free to University of Oregon users.
4
Graca, Richard G. ""Race of Shame" : Samson's transformation from a Homeric hero to a Hebraic hero /." View abstract, 2001. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1627.
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Thesis (M.A.)--Central Connecticut State University, 2001.Thesis advisor: Donald McDonough. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves [74]-[77]).
5
Huq, Rukhsana. "John Milton and reading Like a man." Thesis, Queen Mary, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428600.
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Bruce, Adam Alexander. "John Milton: A Cause Without a Rebel." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/56611.
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John Milton has been frequently associated with rebellion, both by modern scholars and by his contemporaries. Objectively speaking, he may very well be a rebel; however, looking to his own works complicates the issue. In fact, Milton makes very clear in his writing, especially in The Tenure of Kings and Magistrates, that he abhors rebellion mainly because it is unlawful. Furthermore, he describes the uprising against King Charles I by disassociating it from any kind of rebellion, instead determining that the uprising was done lawfully. Milton writes about rebellion in the same way in many of his works leading up to and including Paradise Lost, where Satan resembles the rebel that Milton so vehemently despises. Given Milton's dislike of rebellion, his association of it with Satan complicates another commonplace scholarly argument; that Satan is sympathetic in Paradise Lost. This work will explicate Milton's definition of rebellion, especially through Tenure, and will then use that definition to demonstrate that Satan cannot be read as sympathetic.Master of Arts
7
Cerritelli, Jennifer. "Milton's "Accomplished Eve" (4.660) : feminism in Pradise Lost /." Click for abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1483.html.
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Thesis (M.A.)--Central Connecticut State University, 1998.Thesis advisor: Dr. Mary Anne Nunn. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 92-94).
8
Kendrick, Leslie. "John Milton and the transformation of Virgilian pathos." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402156.
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Andrade, Miriam Piedade Mansur. "Machado de Assis e John Milton: diálogos pertinentes." Universidade Federal de Minas Gerais, 2013. http://hdl.handle.net/1843/ECAP-96CGPX.
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In this dissertation, a discussion on the influence of the English poet of the 17th century, John Milton, on Machado de Assis´s oeuvre is presented. It is the aim of this study to provide a different perspective on the notion of influence, using this term under erasure, in an operation proposed by the French-Algerian philosopher Jacques Derrida. To understand the under-erasure act upon influence, an idea that presents a binding is offered on the terms intertextuality, destinerrance, election of precursors, irony, and elective affinity. Based on these terms, the analyses on Machado de Assis´s and Milton´s texts are worked out and interact in a dialogue between these two writers. It is possible to say that Machado de Assis gives life to Milton´s oeuvre, reviving it in his literary creation, in his experiences as a reader of the English poet. Once the reception of Milton is not meaningful in the Brazilian literary context, it is also the objective of this research to entice the interest for Milton through the reading of Machado de Assis´s texts, in other words, to read Milton in a machadian way.Na presente tese discute-se a influência de John Milton, poeta inglês do século XVII, na produção literária de Machado de Assis. A fim de abordar distintamente a influência, sua noção é, neste trabalho, colocada sob rasura, de acordo com a perspectiva do escritor franco-argelino Jacques Derrida. Para a compreensão dessa rasura, uma ideia é proposta, a qual se desdobra nos termos: intertextualidade, destinerrance, eleição de precursores, ironia e afinidade eletiva. Baseando-se nos termos desse grupamento, as análises das obras de Machado de Assis e John Milton são trabalhadas e articuladas no diálogo estabelecido entre esses autores. É pertinente dizer que Machado de Assis dá vida à obra miltoniana, por reviver, em sua criação literária, suas experiências como leitor desse poeta inglês. Em sendo pouco extensa a recepção de Milton no cenário literário brasileiro, enseja-se, por meio da leitura desta tese, instigar o interesse por Milton por meio de Machado de Assis, ou seja, ler Milton machadianamente.
10
Mathis, Gilles. "Analyse stylistique du Paradis perdu de John Milton l'univers poétique, échos et correspondances /." Aix-en-Provence : Université de Provence, 1987. http://books.google.com/books?id=xApbAAAAMAAJ.
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Abbott, William T. "John Milton: Not War, Not Peace, Not Exactly Grotian." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2052.
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Foreword
This paper will be of value in answering continuing questions regarding John Milton's position on war and peace. The questions continue and are valid because Milton's works, as considered in the paper, offer support for both pro-war and pro-peace interpretations. The paper also addresses a middle-ground interpretation-that Milton's position can best be understood in light of the legal theories of Hugo Grotius, the seventeenth-century Dutch scholar who is generally accepted as the father of modern international law.
The works considered include, among others, the Nativity Ode, the sonnets, Paradise Lost, Paradise Regained, Samson Agonistes (including post 9/11 controversy involving its alleged endorsement of terrorism), Christian Doctrine, and Milton's infrequently cited History of Britain.
No ultimate answers are suggested except that more than three hundred years of Milton scholarship have left little unexplored regarding Milton's views on war and peace. Milton will always be known for his admiration of soldiers, particularly his employer, Oliver Cromwell, and for his military imagery, particularly in Paradise Lost. He will also be known as a man who lived in a time of constant warfare, and yet who valued and sought individual inner peace.
12
Hawkins, Z. V. "Home in the prose and poetry of John Milton." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1420213/.
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This thesis will explore Milton’s writing in relation to the idea of home as a biographical and cultural influence. As such, it will primarily be concerned with his experiences of home, in as much as we can reconstruct them from his writing and early biographies, and with the contemporary socio-religious ideologies pertaining to homes and houses that may have influenced him. The primary aims of this thesis are: first, to add to knowledge of the poet’s life by bringing recent sociological and historical research on the material and social culture of the home in the seventeenth century to bear on our existing knowledge of Milton’s life; and secondly, to add to an understanding of his writing by using these conclusions alongside close readings and literary analysis to gain new insights into his poetry and prose. Then, as now, an individual’s experiences and expectations of home would have varied throughout his life and this study is therefore arranged broadly chronologically, and tracks the changes and continuities in Milton’s approach to the subject. In particular, it will explore how the young Milton responded to the relationship between patriarchalism, politics and house-holding, and the pressures this relationship placed on early-modern men. It will also examine how he was able to exploit this social ideology in his political prose, how this interacted with the wider political discussion of the civil war and its consequences, and how the use of the idea of home within these discussions influenced broader thinking on issues such as the relationship between ‘private’ and ‘public’ affairs. Finally, this study will explore the ways in which the home is discussed in Milton’s post-Restoration writing, and relate this to the question of whether he resorted to intellectual quietism in political defeat.
13
Stallard, Matthew S. "John Milton’’s Bible: Biblical Resonance in Paradise Lost." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1218072545.
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Colebrook, Claire Mary. "John Milton, William Blake and the history of individualism." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/26407.
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The justification of "the ways of God to man" in Paradise Lost draws upon a history of classical and Christian theories of justice. According to these theories, justice is a virtue and has less to do with positive law than it does with individual wisdom. These theories of justice as a virtue are conceptually dependent upon the doctrine of the Platonic/Christian soul and a certain form of pre-modern individualism. In response to the emergent modern individualism of his day Milton asserted a neo-Platonic conception of truth and order. According to this metaphysical theory, the individual, because he or she is endowed with a soul, can attain knowledge of a transcendent and eternal realm of truth through private contemplation. Although Romanticism has been seen by some critics, such as Harold Bloom, to promulgate a modern form of individualism, this thesis will argue that William Blake's poetry challenges both Milton's traditional doctrine of the soul with its personal relationship to God and the modern concept of subjectivity. Historians of ideas are united in locating the emergence of modern individualism in the seventeenth century with modern individualism being a hallmark of capitalist and increasingly secular societies. This modern form of individualism is rejected by both Blake and Milton but whereas Milton challenges modern individualism by reasserting an earlier hierarchical individualism, Blake sees individualism itself as the unifying characteristic of a great spiritual and cultural decline.
15
Zwierlein, Anne-Julia. "Majestick Milton : British imperial expansion and transformations of "Paradise lost", 1667-1837 /." Münster : Lit, 2001. http://catalogue.bnf.fr/ark:/12148/cb39248240h.
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Whisman, Derek K. "A Devil of a Coincidence: Study on Milton and Gower." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/42655.
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The seventeenth-century epic poem Paradise Lost is one of the most widely studied texts in all of literary history. The work, written by John Milton, depicts Satanâ s fall from Heaven and subsequent deeds on Earth and in Hell. One of the more remarkable and, often, most overlooked scenes in the story involves the distinctive personification of Sin and Death. Milton depicts Sin as the daughter of Satan, with no mention of a mother, born through a process of spontaneous generation. Satan then becomes so captivated by his daughterâ s wickedness that he forces himself upon her, causing Sin to bear a son, Death. This illustration is striking, especially given that it also appears in the opening pages of the fourteenth-century Mirour de l'Omme (c. 1376) by John Gower. In both Milton and Gowerâ s poems, Satan, Sin, and Death are personified as having this familial, incestuous relationship which ultimately creates the worldâ s evils. Their depictions are not merely reminiscent of one another, but rather, often match up in nearly identical fashions. John S. P. Tatlock was the among the first to notice these similarities, but was also quick to express his hesitance to say with any sort of assurance that Milton had read Gower: â Since only one manuscript of the Mirour is known, and that was never published until seven years ago [1899], the chance is infinitesimal that Milton ever heard of the poem. But that his and Gowerâ s sources are ultimately the same seems to me highly probable.â Yet to date, no studies have been conducted to determine which shared sources could possibly lead Milton and Gower to construct such similar personifications of Sin and Death. Indeed, John Fisher notes that currently â the influence of the Mirour upon Paradise Lost remains an open question.â It is upon this open question that I now attempt to help fill this century-old void in literary researchMaster of Arts
17
McCrady, Matthew B. "The influence of seventeenth century Anglo-Saxon scholarship on Milton's prose works, The history of Britain and Paradise lost." [Morgantown : West Virginia University Libraries], 1998. http://etd.wvu.edu/templates/showETD.cfm?recnum=106.
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Thesis (M.A.)--West Virginia University, 1998.Title from document title page. Document formatted into pages; contains iv, 90 p. Vita. Includes abstract. Includes bibliographical references (p. 84-88).
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Hay, Ken. "Metaphoric strategies and the paradox of the fortunate fall in Paradise Lost." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25607.pdf.
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Arvin, Ittamar Johanan. "Bliss, delight and pleasure in Paradise lost /." Connect to full text, 2001. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20030129.094154/index.html.
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Sarikaya, Merve. "A Julia Kristevan Analysis Of Emily Dickinson And John Milton." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608453/index.pdf.
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This thesis aims to analyze poems by Emily Dickinson and John Milton
according to Julia Kristeva&rsquos theories of poetic language and abjection, and to see the extent to which these concepts are applicable to two such different poets and also to see how the poets compare within such analytic framework. Kristeva adapts a psychoanalytic approach to poststructuralist theory. Psychoanalytic criticism with its two leading figures, Sigmund Freud and Jacques Lacan, has been analyzed to see its reflections on Kristeva&rsquo
s theory. As regards, the semiotic, the symbolic, the abject and the paragrammatic structure of poetic language are four main concepts which have been found to be critical tools to be used in the analyses of Dickinson and Milton&rsquo
s poems. What has been concluded from the analyses in this thesis is that in both Dickinson and Milton&rsquo
s poems, according to Kristeva&rsquo
s theory of poetic language, there is the intrusion of the semiotic into the symbolic which is further supported with the concept of the abject. Also, the difference between a seventeenth century and a modern poet in terms of a Kristevan approach has been deduced in this thesis. That is, Kristeva&rsquo
s theory of paragrammatic structure has proved that in v Dickinson&rsquo
s poems, each and every word helps to sustain an image. Contrary to this, in Milton&rsquo
s Comus, which is a work of the seventeenth century, it has been somewhat difficult to apply Kristeva&rsquo
s theory of paragrammatic structure.
21
Burton, Ben. "Poetics of the Eucharist from Robert Southwell to John Milton." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519752.
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Wilson, Emma Annette. "John Milton's use of logic in 'Paradise Lost'." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/850.
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Avin, Ittamar Johanan. "Bliss Delight and Pleasure in Paradise Lost." University of Sydney. English, 2001. http://hdl.handle.net/2123/484.
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There have been many studies of keywords in Paradise Lost. Over the last fifty or so years words such as �wander�, �lapse�, �error�, �fruit�, �balmy�, �fall�, �hands�, among others, have attracted critics� attention. The present enquiry brings under scrutiny three linked keywords which have up to now escaped notice. These are the words �bliss�, �delight�, and �pleasure�. The fundamental proposition of the thesis is that Milton does not use these words haphazardly or interchangeably in his epic poem (though in other of his poetic productions he is by no means as fastidious). On the contrary, he self-consciously distinguishes among the three terms, assigning to each its own particular �theatre of operations�. Meant by this is that each keyword is selectively referred to a separate structural division of the epic, thus, �bliss� has reference specifically to Heaven (or to the earthly paradise viewed as a simulacrum of Heaven), �delight� to the earthly paradise in Eden and to the prelapsarian condition nourished by it; while �pleasure�, whose signification is ambiguous, refers in its favourable sense (which is but little removed from �delight�) to the Garden and the sensations associated with it, and in its unfavourable one to postlapsarian sensations and to the fallen characters. Insofar as the three structural divisions taken into account (Hell is not) are hierarchically organized in the epic, so too are the three keywords that answer to them. Moreover, in relating keywords to considerations of structure, the thesis breaks new ground in Paradise Lost studies.
24
Huebner, Seth. "The finger pointing to the moon Perennial philosophy and John Milton /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/s_huebner_041610.pdf.
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Tournu, Christophe. "Théologie & [et] politique dans l'oeuvre en prose de John Milton." Clermont-Ferrand 2, 1996. http://www.theses.fr/1996CLF20100.
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Cette étude se propose d'examiner les interactions du discours sur Dieu de Milton avec sa vision de l'organisation de la cité dans ses pamphlets, où il s'est appliqué aux divers champs de la liberté. Lorsqu'il se penche sur la vie privée pour prouver que le divorce se justifie en cas d'incompatibilité d'humeur, le publiciste se voit obligé de créer une herméneutique : "la règle de charité" devait servir d'argumentaire à sa politique. Sa théologie, essentiellement christologique, aboutit à une revalorisation de l'homme faillible. L'évocation de l'éducation des enfants l'amène à souligner la perfectibilité de l'homme par le savoir. Si elle forme à la connaissance de Dieu, l'école prépare une élite au commandement des affaires publiques : le théologique, sans le politique, reste vide. Avec le dossier de la liberté d'imprimer, où il plaide pour l'abolition de la censure d'avant publication, le polémiste cherche à cautionner par sa théologie un projet politique, bien que celui-ci déborde son cadre spécifique : Milton souligne la responsabilité de l'homme pour demander l'affranchissement des consciences. Avec la cause ecclésiastique, il affirme l'irréductible dignité des croyants, d'où son antiprélatisme ; il se prononce pour une séparation des 2 sphères. Il dégage complétement l'église du politique, jusque dans ses infrastuctures, pour l'investir d'une dimension supra-théologique. Sa conception de l'autorité fait apparaître que le politique, sans le théologique, n'aurait aucune assise. Il réfute le jure divino des rois pour avancer le droit inaliénable des peuples à disposer d'eux-mêmes ; à l'aide d'arguments philosophico-historiques, il légitime le tyrannicide ; aux prises à l'anarchie, il préconise un républicanisme aristocratique. Ce schéma fait voir une symbiose théologie-politique : la minorité, dirigeants ou hommes bons, ne correspond-elle pas à la poignée d'élus de Dieu ? Cependant, les 2 pôles ne sauraient obéir à une logique identique : l'homme ne voit pas comme Dieu voit ; d'autre part, chez Milton, ils suivent une évolution parallèle : le politique doit disparaître dans la mesure où chacun est appelé à la discipline de soi, à une intériorisation de la loi ; le théologique cesse d'être un prototype pour les situations collectives présentes pour s'employer à une transformation de l'individu : il s'efface au profit de l'écriture non-écrite : la paroleThis study purports to analyse the interactions between j. Milton's discourse on god and his view of man's organized society in the works "of (his) left hand", where he applied himself to the various fields of liberty. Examining private life, the polemicist must devise his own hermeneutics to justify divorce in case of mutual incompatibility; "the rule of charity" was to account for his politics of marriage. What is essentially a christology leads to a radical upgrading of fallible man. When he deals with the problem of education, he insists on the perfectibility of man through learning. If j. Milton's accademy forms man to a knowledge of god, its program prepares an elite to leadership. Theology, without politics, appears to be an empty husk. Then the pamphleteer pleads for the abolition of pre-publication censorship: he strives to support a political project by his theology, although the former will further ask for liberty of conscience. Emphasizing the responsibility of man, j. Milton rejects calvins and come close to arminianism. In discussing the ecclesiastical cause he asserts the dignity of believers and positions himself for a segregation of the two spheres. Divesting the church of politics, he would invest the institution with a supra theological dimension. That politics, without theology, would be unfounded is the conclusion of his vision of power. Confuting the jure divino of kings to put forward the imprescriptible rights of the people to self-government, he legitimizes tyrannicide with philosophical and historical arguments, before advocating an aristocratic republic. Thus theology and politics would completely agree : the minority of good men or of rulers corresponds to the handful of god's elect. Yet the two poles cannot obey one logic, for man sees not as god sees, but they follow the same pattern of evolution. Just as politics is eventually t o disappear because man should master himself by interiorizing the law, theology will no longer be a prototype for all present collective situations: the ways of god to man aim at a renewing of the individual(s) and are to be found in the unwritten scripture - the word
26
Pepperney, Justin R. "Religious Toleration in English Literature from Thomas More to John Milton." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245245934.
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Ackermann, Lutz. "Metaphors of conquest and deliverance theory and imagery of the atonement in John Milton /." Tübingen : Universität Tübingen [Host], 2004. http://w210.ub.uni-tuebingen.de/dbt/volltexte/2004/1462/pdf/atonzdv2.pdf.
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Stallard, Matthew S. "John Milton's Bible : scriptural resonance in Paradise lost /." View abstract, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3320757.
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Le, Roux Selene. "Poetry of revolution : the poetic representation of political conflict and transition in Milton's Paradise Lost and Marvell's Cromwell poems /." Link to the online version, 2007. http://hdl.handle.net/10019/1760.
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Reisner, Noam. "With undiscording voice : the poetry of John Milton and the positive ineffable." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433278.
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Almeida, Martim Vasques da Cunha de Eça e. "Violência e epifania: a liberdade interior na filosofia política de John Milton." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-09102015-130105/.
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John Milton (1608 1674) é conhecido não só como o poeta do épico Paraíso perdido, mas também como um dos grandes teóricos e polemistas do período das Guerras Civis Inglesas. Seu principal tema é o problema da liberdade em um reino que se transformou segundo ele em uma tirania de reis e potentados religiosos, onde o súdito não era mais adequadamente representado por seu soberano; de acordo com Milton, como o rei não era mais o representante justo do reino, ele não deveria mais exercer as suas funções, sendo necessária a sua deposição e, em alguns casos extremos, o regicídio (como foi defendido pelo próprio poeta); assim, a solução proposta junto com outros panfletários anti-realistas, que nunca atingiram a riqueza retórica e a ousadia teórica de Milton é o surgimento de uma república inglesa, inspirada nos moldes ciceronianos e de clara influência secular-humanista. A partir de agora, o verdadeiro representante do governo deve ser o povo, mais precisamente a commonwealth, formada por indivíduos capazes de dominar as paixões que os podem transformá-los em escravos e viver de acordo com a vontade da razão e da prudência. A liberdade interior dos membros desta república se dá dentro desta commonwealth, onde eles podem exercer a liberdade civil (em que o indivíduo pode viver com tranqüilidade desde que respeite as leis da república), a liberdade doméstica (em que se pode escolher qual é o tipo de educação que pretende ter, quais são as pessoas com quem pretende se relacionar, etc.) e a liberdade religiosa (a possibilidade de escolher uma religião sem a interferência do governo ou de qualquer outra seita religiosa que se classifique como oficial).John Milton (1608 - 1674) is known not only for his epic Paradise Lost, but also as one of the great theorists and polemicists of the period of the English Civil Wars. Its main theme is the problem of freedom in a kingdom that has become a tyranny of kings and religious potentates, where the subject was not properly represented by his sovereign; according to Milton, as the king was no longer the right representative of the kingdom, he should no longer perform his duties, requiring the deposition and in some extreme cases, the regicide (as argued by him); thus, the proposed solution along with other anti-royalist pamphleteers, who never reached Milton´s rhetoric and the theoretical boldness is the emergence of an English republic. From now on, the true representative of the government should be the people, specifically the commonwealth, made up of individuals able to master the passions that can turn them into slaves and live according to the will of reason and prudence. The Freedom of the Republic takes place within this commonwealth, where its members can exercise civil liberty (in which the individual can live with peace of mind provided if it complies with the laws of the Republic), domestic freedom (where you can choose what kind education you want to have, who are the people you want to relate, etc.) and religious freedom (the ability to choose a religion without interference from the government or any other religious sect that classify them as \"official\").
32
Oberson, Frédéric. "Image, symbole et signe dans les pamphlets anti-royalistes de John Milton." Paris 10, 2001. http://www.theses.fr/2001PA100114.
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Les pamphlets anti-royalistes de John Milton sont composés dans la grande tradition des duels rhétoriques. Il se préoccupe peu de théorie politique et s'intéresse, avant tout, à la liberté de conscience et d'expression. Il critique une société qui se laisse trop facilement manipuler par la propagande. Milton devient le chantre du nouveau gouvernement républicain et compose pour lui plusieurs défenses destinées à un public européen. Sa première cible est le roi Charles Ier, dont il critique point par point les supposées « mémoires », publiées au lendemain de son exécution. Il s'en prend à un roi-acteur qui, à l'image des personnages shakespeariens, joue plusieurs rôles, tantôt poète, tantôt martyr éploré. Ses deux principaux adversaires sont des royalistes étrangers, les Français Claude Saumaise et Alexandre More. Pour les discréditer, il utilise contre eux un bestiaire foisonnant et une satire aux nombreuses références sexuelles. Il développe aussi toute une série de signes de l'étranger auxquels il oppose, avec un patriotisme virulent, un portrait glorieux de la nation anglaise. Ses ennemis l'accablent d'injures, relatives notamment à sa cécité et il se réfugie dans la littérature et le mythe pour élever le débat, jusqu'à créer pour lui-même le personnage du barde aveugle, qu'il reprend dans sa tragédie de Samson Agonistes. Il affronte ses adversaires royalistes au moyen de signes qu'il partage avec eux, mais dont chacun use différemment. Il s'intéresse avant tout à la responsabilité de l'homme à l'égard de son choix du juste ou du faux. Le tyran sous tous ses avatars, de Charles Ier à Satan, symbolise la tentation de l'illusion. Milton se transforme souvent en médecin du corps politique lorsqu'il pratique une dissection des textes de ses adversaires, pour en exposer les artifices, en ayant recours à de nombreuses images liées au corps humain et à la médecine. Il met en scène les illusions de ses ennemis, en puisant abondamment dans le répertoire théâtral de l'époque et s'inspire abondamment des tragédies de William ShakespeareIn his republican pamphlets, John Milton fights against three main enemies, i. E. The late king Charles I and two French monarchists, Claude Saumaise and Alexander More. Against them, he builds up a lot of satirical images, involving animals, sexual behaviours, the medicine and the theatre. He is influenced by William Shakespeare. A lot of bodily images and symbols are derived from contemporary medical thought. Milton's main purpose in his republican pamphlets is to expose in public view the illusions which enslave men and to fight political propaganda. He presents himself like a hero, a bard, a prophet and a soldier, with a mission. In doing so, lie compares himself with a lot of mythological figures, from Orpheus and Osiris, to Samson and Hercules
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McKim, Jennifer. "Milton, Early Modern Culture, and the Poetics of Messianic Time." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/245215.
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EnglishPh.D.
Despite recent scholarship, critics have yet to offer a sustained, interdisciplinary interpretation of John Milton's engagement with millennial ideas that takes into equal account the historical context of seventeenth-century religious and political controversy, the ways in which the pending apocalypse transformed how people imagined and experienced time, and how we see evidence of this cultural shift in Milton's poetry. This dissertation opens new possibilities of understanding Milton's relation to apocalyptic belief in the Revolutionary and Restoration era through an investigation of how millennial thinking cut across a variety of discourses including theology, politics, and science. At its most basic level, my dissertation argues the seventeenth-century anticipation of the apocalypse fundamentally altered the way people imagined time; this new way of conceptualizing temporality changed early modern religious beliefs, conceptions of history, the scientific imagination, and practices of reading philosophy, politics, and literature. My project proposes that the poetry of Milton helps us better understand these extensive cultural transformations. I explore this new understanding of time that is both reflective of discursive changes in the seventeenth century as well as characteristic of Milton's aesthetics, by offering an understanding of Milton's relationship with millennial ideas and their constitutive temporal structure. I argue that, in response to the inevitable and immanent "end of time" suggested by seventeenth-century apocalyptic temporality, Milton's poetry creates an alternative temporality, opening up an experience of time that is not necessarily unidirectional, closed, and speeding towards its end. I suggest that this different experience of time can best be understood through the framework of a temporality explored by contemporary philosophers Walter Benjamin, Jacques Derrida, and Giorgio Agamben--messianic time. Put in its most basic terms, messianic time is a way of thinking about temporality differently, of calling into question our narratives of how time and history function. The messianic invites us to interrogate the notions of closure, certainty, and inevitability that are implicit in our linear, apocalyptic notion of time. Milton's texts continually constitute the possibility of a messianic temporality that can be read as a response to changing conceptions of time in the seventeenth century, millennial anticipation, and the belief that the apocalypse was close at hand. Entering a recent critical conversation regarding Milton's engagement with millennial and apocalyptic thinking, I suggest that we can understand this involvement through the alternative temporality his poetry creates. Each chapter of this dissertation fuses a formalist close reading of the temporality and uncertainties opened up by generic revisions, literary allusions, and rhetorical devices in Milton's poetry with a reading of how ideologically-conflicting interpretations of millennial time are articulated in the text and are reflective of contemporary discourse. I demonstrate how messianic time functions in each text and I prove the importance of this experience as it relates to historical and ideological questions about the millennium. This dissertation contributes to an ongoing conversation regarding how political, religious, scientific, and aesthetic texts are interconnected, and explores the plurality of Milton's ideological positions as they emerge out of the ambivalence and tension in the language of his poetry. In my reading, Milton's texts articulate a way of being in the world--both structural (created through language) and historical (tied to seventeenth-century millennial thinking)--that suggests uncertainty is the condition of knowledge and truth.
Temple University--Theses
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Myers, Benjamin. "Milton's theology of freedom." Berlin New York de Gruyter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2815297&prov=M&dok_var=1&dok_ext=htm.
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Brown, M. Dawn Henderson. "Original and eternal seduction Satan's psyche in Paradise lost /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/brownm/melissabrown.pdf.
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Mattern, Frank. "Milton and Christian Hebraism : forms and functions of Rabbinic exegesis in Paradise Lost." Thesis, Heidelberg Winter, 2002. http://d-nb.info/992549485/04.
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Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.
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This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers.Department of English
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Coltz, Carol J. "New Presbyter and old priest : John Milton, Joseph Hall and the Smecymnuus controversy." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.256148.
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Costa, Andréa Moraes [UNESP]. "John Gledson reescreve Milton Hatoum: a teoria e a experiência da tradução cultural." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/138054.
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Este estudo, primeiramente, apresenta uma discussão fundamentada na teoria e na experiência, tendo como temática central a tradução cultural. Deste modo, as discussões aqui desenvolvidas apontam a afinidade existente entre os Estudos da Tradução e os Estudos Culturais, devido à influência que estes últimos exercem sobre os estudos da tradução cultural. O estudo traz concepções referentes à tradução cultural, abordando alguns aspectos importantes e intrínsecos a esta temática, tais como negociação e mediação cultural. Expõe ainda algumas considerações, especificamente, sobre a tradução da cultura brasileira, a partir de uma breve menção a pressupostos e discursos proferidos sobre a cultura do Brasil, que culminam em sua tradução cultural. A seguir, apresenta três obras do escritor brasileiro Milton Hatoum – Dois irmãos (2006), Cinzas do Norte (2005) e Órfãos do Eldorado (2008a) – as quais foram traduzidas pelo tradutor e crítico literário inglês John Gledson. Por fim, o estudo, embasado nos Estudos da Tradução e nos Estudos Culturais, imbui-se de analisar as traduções das respectivas obras, a saber: The Brothers (2002), Ashes of the Amazon (2008b) e Orphans of Eldorado (2009a). Nesse sentido, este trabalho aponta soluções encontradas pelo tradutor de Hatoum no que se refere, sobretudo, à tradução de elementos culturais presentes nestes romances, a fim de demonstrar que Gledson, ao final das traduções – por mais que suas ideias sobre tradução denotem, por vezes, forte apego ao texto fonte e certa sacralização deste – apresenta um novo texto, isto é, uma reescrita. Para tanto, esta pesquisa conta com o embasamento teórico de importantes estudiosos das áreas dos Estudos da Tradução e dos Estudos Culturais, como Denys Cuche (1999), Peter Burke (2003, 2009), Stuart Hall (2011), Susan Bassnett (1998, 2007), André Lefevere (2007) e também do tradutor John Gledson (1994, 2007, 2014).
This study, first of all, presents a discussion based on theory and experience, with the central theme cultural translation discussion. Thus, it points out the affinity between Translation Studies and Cultural Studies, due to the influence they exert on recent studies of cultural translation. The study brings conceptions concerning cultural ranslation, addressing some important and intrinsic to this theme, such as negotiation and cultural mediation aspects. It still exposes some considerations, specifically, on the translation of Brazilian culture, from a brief mention of assumptions and speeches about Brazil culture, culminating in its cultural translation. After that, it presents three works of Brazilian writer Milton Hatoum - Dois irmãos (2006), Cinzas do Norte (2005) and Órfãos do Eldorado (2008a), which were translated by the translator and English literary critic John Gledson. Finally, the study, based on Translation Studies and Cultural Studies, aims to analyze translations of these works, namely: The Brothers (2002), Ashes of the Amazon (2008b) and Orphans of Eldorado (2009a). So, this work points out the solutions found by Hatoum’s translator with regard mainly to the translation of cultural elements present in these novels in order to demonstrate that the translations of Gledson – as much as his ideas about translation sometimes denote deep attachment to the source text and some sacredness of this text – presents a new text, in other words, a rewriting. For that, this research has the theoretical support of important scholars in the areas of Translation Studies and Cultural Studies, such as Denys Cuche (1999), Peter Burke (2003, 2009), Stuart Hall (2011), Susan Bassnett (1998, 2007), André Lefevere (2007) and also the translator John Gledson (1994, 2007, 2014).
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Costa, Andréa Moraes. "John Gledson reescreve Milton Hatoum : a teoria e a experiência da tradução cultural /." São José do Rio Preto, 2016. http://hdl.handle.net/11449/138054.
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Orientador: Álvaro Luiz HattnherBanca: Válmi Hatje-Faggion
Banca: Marileide Dias Esqueda
Banca: Érika Nogueira de Andrade Stupiello
Banca: Lauro Maia Amorin
Resumo: Este estudo, primeiramente, apresenta uma discussão fundamentada na teoria e na experiência, tendo como temática central a tradução cultural. Deste modo, as discussões aqui desenvolvidas apontam a afinidade existente entre os Estudos da Tradução e os Estudos Culturais, devido à influência que estes últimos exercem sobre os estudos da tradução cultural. O estudo traz concepções referentes à tradução cultural, abordando alguns aspectos importantes e intrínsecos a esta temática, tais como negociação e mediação cultural. Expõe ainda algumas considerações, especificamente, sobre a tradução da cultura brasileira, a partir de uma breve menção a pressupostos e discursos proferidos sobre a cultura do Brasil, que culminam em sua tradução cultural. A seguir, apresenta três obras do escritor brasileiro Milton Hatoum - Dois irmãos (2006), Cinzas do Norte (2005) e Órfãos do Eldorado (2008a) - as quais foram traduzidas pelo tradutor e crítico literário inglês John Gledson. Por fim, o estudo, embasado nos Estudos da Tradução e nos Estudos Culturais, imbui-se de analisar as traduções das respectivas obras, a saber: The Brothers (2002), Ashes of the Amazon (2008b) e Orphans of Eldorado (2009a). Nesse sentido, este trabalho aponta soluções encontradas pelo tradutor de Hatoum no que se refere, sobretudo, à tradução de elementos culturais presentes nestes romances, a fim de demonstrar que Gledson, ao final das traduções - por mais que suas ideias sobre tradução denotem, por vezes, forte apego ao texto fonte e certa sacralização deste - apresenta um novo texto, isto é, uma reescrita. Para tanto, esta pesquisa conta com o embasamento teórico de importantes estudiosos das áreas dos Estudos da Tradução e dos Estudos Culturais, como Denys Cuche (1999), Peter Burke (2003, 2009), Stuart Hall (2011), Susan Bassnett (1998, 2007), André Lefevere...
Abstract: This study, first of all, presents a discussion based on theory and experience, with the central theme cultural translation discussion. Thus, it points out the affinity between Translation Studies and Cultural Studies, due to the influence they exert on recent studies of cultural translation. The study brings conceptions concerning cultural ranslation, addressing some important and intrinsic to this theme, such as negotiation and cultural mediation aspects. It still exposes some considerations, specifically, on the translation of Brazilian culture, from a brief mention of assumptions and speeches about Brazil culture, culminating in its cultural translation. After that, it presents three works of Brazilian writer Milton Hatoum - Dois irmãos (2006), Cinzas do Norte (2005) and Órfãos do Eldorado (2008a), which were translated by the translator and English literary critic John Gledson. Finally, the study, based on Translation Studies and Cultural Studies, aims to analyze translations of these works, namely: The Brothers (2002), Ashes of the Amazon (2008b) and Orphans of Eldorado (2009a). So, this work points out the solutions found by Hatoum's translator with regard mainly to the translation of cultural elements present in these novels in order to demonstrate that the translations of Gledson - as much as his ideas about translation sometimes denote deep attachment to the source text and some sacredness of this text - presents a new text, in other words, a rewriting. For that, this research has the theoretical support of important scholars in the areas of Translation Studies and Cultural Studies, such as Denys Cuche (1999), Peter Burke (2003, 2009), Stuart Hall (2011), Susan Bassnett (1998, 2007), André Lefevere (2007) and also the translator John Gledson (1994, 2007, 2014)
Doutor
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Middleton, Devane King. "Forbidden fruit Dryden's The state of innocence and fall of man, an operatic version of Paradise lost /." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/devane%5Fk%5Fmiddleton/middleton%5Fdevane%5Fk%5F200601.pdf.
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Thesis (M.A.)--Georgia Southern University, 2006."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts" ETD. Includes bibliographical references (p. 77-80)
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Mathews, Justin Lee. "Paradise Lost and the Medieval Tradition." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/28.
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Midan, Marc. "Milton & Melville : le démon de l'allusion." Paris 7, 2014. http://www.theses.fr/2014PA070086.
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Milton & Melville : Le Démon de l'allusion étudie la signification de l'allusion à Milton dans Taïpi, Moby¬Dick, L'Escroc à la confiance et Billy-Budd, Marin. Un état détaillé de la recherche sur les rapports entre les deux auteurs montre la prédominance d'une conception de l'allusion comme moyen d'identifier le sens d'un texte incertain à celui d'un autre, supposé stable ; or, il s'agit, en réalité, d'une relation dynamique et réciproque. Ludique, satirique, impie, ou érotique, l'allusion melvillienne est multiforme et variable ¬ondoiement qui la dérobe à une approche trop générale, mais en lequel réside justement un sens plus global, au-delà de simples effets locaux. Loin d'être un ornement ou un supplément, elle fait partie de la trame même du texte ; oblique, déroutante, elle n'en sert pas moins la grande ambition melvillienne d'« énoncer la Vérité ». C'est, en effet, allusivement — dans une relation, en particulier, au Paradis perdu — que Melville décrit à la fois les travers de la société contemporaine, l'aliénation du moi et la terreur des « sphères invisibles ». Le poème melvillien peut se concevoir comme un lieu où la vérité est, dans le même mouvement, dégagée et exhibée, par une chimie à la fois expérimentale et picturale. Le processus mobilise ¬selon un modèle fédéral où s'affirme une originalité américaine — une allusion complexe, dont le sens ne réside pas seulement dans les éléments importés par les textes simultanément convoqués, mais aussi dans leur interaction conflictuelle. Cet agôn allusif récurrent — qui définit notamment l'écrire-blanc de Moby-Dick — participe d'une violence relationnelle dont le Satan de Milton est le plus puissant symboleMilton & Melville: The Demon of Allusion studies the significance of allusions to Milton in Typee, Moby¬Dick, The Confidence-Man and Billy-Budd, Sailor. Examining the state of research shows that allusion tends to be seen as a way to identify the meaning of an ambiguous Melvillean text with a supposedly stable Miltonic one – when in fact the allusive relationship is dynamic and reciprocal. All at once playful, satirical, impious, and erotic, Melvillean allusion is protean and thus eludes generalization. However, its very elusiveness hints at a more global significance, going beyond merely local import. Far from being just a flourish or a supplement, it is the very stuff that the text is made of. However oblique and disconcerting, it plays a crucial part in Melville's ambition to master the "great Art of Telling the Truth". Indeed, it is through allusion—in particular to Paradise Lost—that he satirizes contemporary society, explores the alienation of the self and expresses the terror of the "invisible spheres". Melville's text can be conceived of as the locus where truth is both achieved and exhibited to the reader, through a chemistry that is experimental as well as pictorial in nature. Based on a uniquely American federal model, such a process involves a complex allusive mix, the meaning of which lies not only in what the different texts bring to their host, "'but also in the destructive interaction between them. This recurrent allusive agon – the "colorless all-color" of writing – speaks to the violence of Melvillean relationships, the most powerful symbol of which is Milton's Satan
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Watson, Sara. "De Milton à Emerson : Trajectoires du dissent de l’époque coloniale à la période antebellum (1640-1860)." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN046.
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John Milton, par son œuvre polémique en prose, a exercé une influence importante d’abord sur les colonies américaines, et ensuite aux Etats-Unis. C’est autour de l’interprétation de son statut de Dissenter que se met en place la construction d’une figure d’identification qui traverse les époques, pendant la Révolution et la campagne abolitionniste notamment. Cette thèse cherche à identifier les mécanismes et les moments fondamentaux de cette transmission culturelle, à travers le parcours de plusieurs auteurs américains : le Quaker John Woolman, l’abolitionniste William Garrison, et le Transcendantaliste Ralph Waldo Emerson. On analysera comment l’évolution de la définition du dissent a permis à l’œuvre de Milton d’accompagner différents mouvements intellectuels américains. On verra comment, à partir de racines anglaises, les problématiques soulevées par Milton dans les années 1640 à 1660, ont pu frapper ses lecteurs transatlantiques comme étant pertinentes pour leur époque, et comment l’œuvre en prose de Milton a pu participer à la définition de la désobéissance civile: John Milton in his prose works had a deep influence in North America, first in the colonies, and then in the United States. His status as a Dissenter, subject to many interpretations, enabled him to remain relevant throughout the different stages of American history, allowing actors from the American Revolution or the abolitionist campaign to identify with him and his works. This dissertation aims at identifying the mechanisms and stages of this form of cultural transmission, through the study of several American authors: the Quaker John Woolman, the abolitionist William Lloyd Garrison, and the Transcendentalist Ralph Waldo Emerson. Rooted in the English Civil War, the issues raised by Milton between 1640 and 1660 nonetheless strike a chord within his American readers as germane to their time. This work shall also investigate how Milton’s prose work, through the shifting definitions of Dissent, directly influenced the concept of civil disobedience
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Donnelly, Phillip Johnathan. "Interpretation and violence, reason, narrative, and religious toleration in the works of John Milton." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66145.pdf.
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Hillier, R. M. "Milton's Messiah : the Son of God and soteriology in the works of John Milton." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604064.
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The thesis examines Milton’s theological and poetic treatment of the Sea of God and the work of salvation and challenges the prevailing opinion in Milton studies that Milton adheres to Arian, Socinian, or psilanthropic tenets. Chapter one argues that Milton’s Christology and soteriology cannot be reconciled with Arianism either as a historical or in a technical sense. Christology necessarily entails soteriology, and Milton’s understanding of the incarnate Son as theanthropos establishes the importance of Christ’s mediatorial and redeeming role. Milton’s powerful conception of the pernicious effects of human sin cannot support an exemplarist, subjective atonement, and instead depends upon a unique, objective atonement. Chapter two analyses Paradise Lost’s bipartite “great Argument” – the assertion of eternal providence and the justification of God’s ways – in fideistic rather than in purely rationalistic terms. The chapter re-evaluates the poem’s debt to Protestant and, in particular, Lutheran forensic discourse on the doctrine of justification. Chapter three offers a reading of Satan’s voyage across Books Three and Four of the epic and interprets the poem’s cosmos as operating according to a sacramental-allegorical poetic. The universe which Satan blindly traverses is an explicatio filii Dei and a copious manifestation of the Son’s theanthropic mediation. Chapter four presents a suggested cause for Milton’s representation of the Fall in Book Nine of Paradise Lost as Eve and Adam’s transgression of the law of charity, that is, the love of God, self and neighbour, which forms the basis for Milton’s understanding of natural law. In the final chapter, I demonstrate how, in addition to surprising Milton’s readers by sin, the affective stylistics of Fishian literary analysis can be applied to Milton’s treatment of the aftermath of the Fall to assure the poem’s readers of the provision of Grace. The thesis concludes by maintaining that Milton’s diffuse epic comprises a redemption song with a highly nuanced Christology and soteriology that is indissociable from a comprehensive critical appreciation of the poem’s central reading.
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Dickey, David Nathaniel. "Correcting angels : the place of woman in the poetry and prose of John Milton." Thesis, University of Ulster, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288318.
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Riley, Karis G. "Passions on trial : early modern passions and affections in John Milton and Paradise Lost." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/17810/.
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This dissertation is about Milton’s moral vision of the passions in a century that thought passions were the difference between a free body and a materially determined body, justified knowledge and error, paradise and hell – in short, the difference between a virtuous life and an enslaved soul. In what has been called an ‘affective turn’ within literary studies, Passions on Trial adds to the growing body of scholarship characterised by a fascination with early modern agency, passions, senses, humours, and the body, and proposes that the next turn points towards ethics. My dissertation contributes to the field of knowledge by providing the first full-length study of Milton’s thinking on the passions throughout his life. It argues that seventeenth-century passions help develop Milton’s concepts of matter and knowledge, agency, and ethics.
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Tweedie, Fiona Jane. "A statistical investigation into the provenance of De Doctrina Christiana, attributed to John Milton." Thesis, University of the West of England, Bristol, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364078.
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The aim of this study is to conduct an objective investigation into the provenance of De Doctrina Christiana, a theological treatise attributed to Milton since its discovery in 1823. This attribution was questioned in 1991 provoking a series of papers, one of which makes a plea for an objective analysis, which I aim to supply. I begin by reviewing critically some techniques that have recently been applied to stylometry. They include methods from artificial intelligence, linguistics and statistics. The chapter concludes with an investigation into the QSUM technique, finding it to be invalid. As De Doctrina Christiana is written in neo-Latin I examine previous work carried out in Latin, then turn to historical issues and examine issues including censorship and the physical characteristics of the manuscript. The text is the only theological work in the extant Milton canon. As genre as well as authorship affects style, I consider theories of genre which influence the choice of suitable control texts. Chapter seven deals with the methodology used in the study. The analysis follows in a hierarchical structure. I establish which techniques distinguish between Milton and the control texts while maintaining the internal consistency of the authors. It is found that the most-frequently-occurring words are good discriminators. I then use this technique to examine De Doctrina Christiana and the Milton and control texts. A clear difference is found between texts from polemic and exegetical genres, and samples from De Doctrina Christiana form into two groups. This heterogeneity forms the third part of the analysis. No apparent difference is found between sections of the text with different amanuenses, but the Epistle appears to be markedly more Miltonic than the rest. In addition, postulated insertions into chapter X of Book I appear to have a Miltonic influence. I conclude by examining the hypothesis of a Ramist ordering to the text.
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Johnson, Nicholas Shane. "Jovial Pregnancies: Couvade and Culture from Shakespeare to Milton." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193577.
Full textAbstract:
This study analyzes figurations of masculine pregnancy in early modern texts. Because no systematic methodology for conducting such an analysis yet exists, I have synthesized scholarship from anthropology, medicine, and psychoanalysis to construct an appropriate paradigm. Specifically, I bring together the anthropologist's "couvade," the physician's "couvade syndrome," and the psychoanalyst's gender-inflected model of the unconscious. Informed by this interdisciplinary scholarship, I offer a composite theory of couvade desire. I then apply that theoretical model to early modern figurations of masculine pregnancy. I find that the pervasive use of such figurations during the period results from ahistorical bodily disparities and historically-specific epistemological circumstances. The so-called "literary couvade" thus modulates: it directly challenges essentialist claims on the one hand, while simultaneously acknowledging the inexorable link between masculinity and a bodily incapability to give birth. Masculinity, in this model, appears disabled.Mitigating the disability, however, is a cultural imaginary unfettered by modern anatomical knowledge. Key aspects of human reproduction were still seductively obscure in the early modern period. Women birthed babies, that much was plain; but, perhaps men had a compensatory system of reproduction. Perhaps, some speculated, that system was superior to the messy, merely material capability exclusive to women. Masculinity could, in this regard, rival maternity for social significance without disclosing any act of appropriation from maternity. Such a dynamic resembles closely Rene Girard's paradigm of "mimetic desire." Crucial to mimetic desire is an indifference to the ostensible object on the part of both rival subjects. Relating this to the early modern "literary couvade," I conclude that figurations of masculine pregnancy emerge from a compensatory desire: the desire to mollify an apparent lack with the reduction in significance of the rival's manifest capability.