Thomas More’s Portrayal in a Twentieth-Century Translation of Utopia

Ramón Esquerra i Clivillés (1909-1938), a Spanish intellectual born and raised in Barcelona, published in 1937 Utopia (El Estado Perfecto), a translation of Utopia (1516) by Thomas More. The translator prepared a large prologue in which he minutely details the life and personality of the humanist and introduces Utopia and its reception in Spain. As a result, this illuminating introductory section becomes a brief piece of literary criticism. The way More is presented and how Esquerra emphasizes some of his most personal features creates a particular image of the humanist: that of a saint. The information shown was carefully chosen by the translator, serving from of More’s latest published biographies to construct a useful context for the reader.

THOMAS MORE E OS EPIGRAMAS LATINOS: UM ESTUDO DE TRADUÇÃO

O presente estudo possui como objetivo geral apresentar em seu escopo um estudo de tradução com comentários. Sendo assim, o corpus de análise são os epigramas latinos de Thomas More. A pesquisa é qualitativa e a sua metodologia é de cunho bibliográfico, valendo-se de publicações científicas em periódicos, livros, dicionário e anais de congresso. O embasamento teórico da primeira parte traz estudos dos pesquisadores da área da literatura, filosofia e teologia, tais como: Wood (1999); Ranson, 2009, Hoschele (2015), dentre outros. A conclusão do nosso trabalho é de que os epigramas possuem uma grande importância dentro da obra de Thomas More, pois além de mostrar a sua habilidade de escrita com o gênero, também demonstra quão grande conhecedor da língua latina ele era.

Thomas More and the Defence of the Religious Orders in Henry VIII's England

Much has been written about Thomas More's alleged monastic vocation and spirituality, but rather less about his views on the religious orders of his day. This article argues that a consistent position towards contemporary English monasticism can be discerned across More's (highly varied) oeuvre and in his personal connections with religious houses. He was an enthusiastic supporter of strictly observant monasticism throughout his career, but seems to have looked much more critically upon other branches of the religious orders in early Tudor England (which comprised the large majority). This orientation was shared with some other English humanists, but clashed with the position of Erasmus who held no special regard for strictly observant monasteries. More's misgivings about general monastic standards in the realm held a wider significance, in view of his status as the most prolific and influential polemicist writing in support of the early Tudor church. The defence of the religious orders in the controversialist works that More wrote and oversaw in the later 1520s and early 1530s was distinctly lukewarm, and even at times evasive. Partly as a result, the mounting evangelical and anticlerical attacks on English monasteries in these years went largely unanswered.

Théâtres utopiques de Roland Barthes

L’œuvre de Roland Barthes oscille entre modernité et classicisme, pour autant, loin de considérer qu’il faille prendre parti et choisir sa propre conception de Roland Barthes, il s’agit de penser ce lien dans un rapport dynamique entre ces deux pôles au prisme de la notion d’utopie elle-même oscillant entre une forme de retour à un état antérieur et à la construction d’un programme idéal à venir. En effet, on peut penser avec Diana Knight dans son ouvrage Roland Barthes and Utopia : Space, Travel, Writting, que l’utopie est une thématique centrale au sein de l’œuvre de Roland Barthes ce qui rend son écriture ancrée dans sa propre modernité mais aussi dans la nôtre. L’utopie constitue un concept à deux jambes : l’une pratique et politique et l’autre théorique. À ce titre, on peut considérer que cette dualité propre à cette notion dès l’ouvrage de Thomas More construit en deux parties inséparables l’une de l’autre, explique en partie l’oscillation qui anime l’œuvre du critique français. On s’interrogera tout au long de cet article sur les liens que l’utopie noue entre le théâtre, la sexualité et l’amour au sein de l’œuvre de Roland Barthes en en suivant les « phases » tout en tentant d’en dégager des structures transversales et linéaires qui cherchent à remettre en question la dimension hétérogène et monolithique de ces « phases ». utopie – théâtre – sexualité - amour.

The Nature of the Commonwealth

An important catalyst for the upsurge of interest in analysing earthly political communities came in 1510, when the French king Louis XII called a Council of the Church to Pisa. Like previous Councils, it encouraged debate about the location, representation, and exercise of power, but the Council at Pisa was especially notable because its defenders—including Jacques Almain and John Mair—leaned heavily on the concept of natural law in making their case against the Pope. By appealing to natural law they made clear that they saw their writings as relevant not only to the internal workings of the Church, but to all communities, temporal as well as ecclesiastical. Soon new arguments began to circulate in Europe in which the basis of political power was grounded in natural law rather than in any direct grant of power from God. These arguments helped to explain why political power was diffused among a number of independent communities rather than united in the Empire, and they could also be used to show how and why the Church was different from the state or temporal community. This chapter also considers alternative ideas about the relationship between Christianity and politics, including those developed by Thomas More, Niccolò Machiavelli, and Francesco Guicciardini.