Auswahl der wissenschaftlichen Literatur zum Thema „Kinsman courier“

Sir William Keith of Delny was the illegitimate son of a Buchan laird, who rose through the young King James VI's chamber to become Master of the Wardrobe. He also served as ambassador for James to various countries, most remarkably in the failed mission to save Mary Queen of Scots from English execution. This article explores the nature of James's reliance on lesser men as courtiers, in his trust in individuals to deliver his sentiments and how his favour could be won, lost and regained. It also explores the same dynamics in the relationship between William and his kinsman superior, George Keith, fourth earl Marischal. William is shown to be one of Jacobean Scotland's great intermediaries, between earl and king, king and courtiers, king and foreign governments.

This study aims to examine perceptions and attitudes toward euthanasia among university students who are pursuing bachelor’s degrees. Although the legalization and application of euthanasia are discussed commonly by health-care professionals and partially by lawyers, the ideas of other segments of society, especially university students, are taken place very rarely. The research was conducted descriptively to determine the ideas of 1,170 students at Kastamonu University from six different departments: arts and sciences, theology, tourism, nursing, school of physical education, and sports with using a questionnaire. Findings demonstrated that 73.2% of the students do not approve euthanasia. Also, it was found that there are significant differences depending on age, gender, department of study, income level, place of living, and the loss of kinsmen. This study serves as a resource for future research to understand the effects of sociodemographic characteristics on the decision of euthanasia.

A useful guide for the general reader, as well as high school and undergraduate students, to Shakespeare's 37 plays. After a brief introduction outlining Shakespeare's life and career, Cahn carefully guides the reader through each play in turn, from first scene to last, using a mixture of quotation, paraphrase, and critical comment. His style is accessible and unpretentious, and his insights into the `psychological consistency' of Shakespeare's characters--the main focus of the commentary--are stimulating and sometimes provocative.Library JournalContending that the fundamental appeal of Shakespeare's work lies with his characters, Cahn systematically proceeds through a discussion of each play (within the traditional categories of tragedy, history, and romance) as if an audience were encountering that play for the first time. . . . This critical appreciation approach differentiates Cahn's companion/handbook from other Shakespeareana . . . in which the intention is to assemble a body of Shakespearean lore for information. In Cahn's work, suggestions for further reading (usually a short list of the prominent, old studies) follows each analysis. Two appendixes (The Two Noble Kinsmen and a who's who of the Royal Figures are provided. A one-page select bibliography, a character index, and a general index end the book. It is highly recommended for any general public library and for academic collections at all undergraduate levels.Choice Since their first production four centuries ago, the plays of William Shakespeare have been the most widely produced, popularly acclaimed, and critically examined works in the world's literature. In this unique book, Victor L. Cahn, an acclaimed teacher of drama, guides the reader scene by scene through each of Shakespeare's thirty-seven plays, recreating the freshness and theatrical effect of performance. Cahn has based his approach on the assumption that the fundamental appeal of Shakespeare's plays lies in the characters, and with clarity and subtlety he focuses on how the implications of the characters' actions and the nuances of their language contribute to the plays' impact. The introduction briefly traces Shakespeare's life and career, and explains some of the social and artistic circumstances that influenced his work. The plays are grouped by genre: Tragedies, Histories, Comedies, and Romances. This structure allows Cahn to explore Shakespeare's development in all four dramatic forms, as well as to suggest relationships between characters, themes, and images throughout the works. In addition, Cahn discusses the plays as reflective of Shakespeare's age, particularly the Renaissance concern with the tension between individual rights and social responsibility. The text is free from extensive scholarly apparatus, but valuable suggestions for further reading follow the analysis of each play, and a selected bibliography concludes the volume. The comprehensiveness of the book, as well as the accessibility and quality of its interpretations, make it a valuable resource for courses in Shakespeare, drama, and British literature, and a worthy addition to high school, college, university, and public library reference collections.

During the years 1610 to 1612 the threat of war returned to haunt Europe and James I’s critics looked increasingly to Henry, prince of Wales, as a future military and Protestant leader. Chapter 4 looks at Herbert’s engagement with courtly politics and support for his kinsman, Pembroke, who opposed the powerful pro-Catholic and pro-Spanish Howard faction and favoured providing military assistance to fellow Protestants in Europe and seeking alliance with France. It examines Herbert’s determination to secure honour and military experience by fighting as a volunteer in the Protestant army defending Jülich-Cleves in 1610 and the contribution of his military exploits in camp, where he learned the art of making war under Sir Edward Cecil, and his emerging chivalric reputation in England and on the continent. It considers his attempt to defend his honour in a series of duels, including most notoriously with Theophilus Howard, Lord Walden, and Sir John Eyre, and the reaction of the Privy Council and fellow courtiers to the fashion for duelling. It explores Herbert’s involvement in courtly and literary circles; the favour shown him by Anne of Denmark; his friendship with John Donne, Sir Robert Harley, and Sir Thomas Lucy; his commissioning of portraits by leading court artists; and his difficult relationship with members of the Howard family that led, following the rise of Robert Carr, earl of Somerset, as royal favourite and the deaths of Robert Cecil, earl of Salisbury, and Prince Henry, to his withdrawal from court politics.

Herbert returned home from Paris in 1621 to recuperate following illness and near bankruptcy and found Parliament engaged in attacks upon Buckingham and James I resisting pressure to intervene militarily in Europe to support his dethroned daughter and son-in-law. Chapter 8 explores Herbert’s unexpectedly warm reception at the English court and his return to France as ambassador at the end of 1622. It examines his role in James I’s attempts to persuade Louis XIII to provide support and assistance to the elector palatine; his continuing, though more restrained, support for French Protestants; and his reports on the unorthodox diplomatic mission undertaken by Charles, prince of Wales, and Buckingham to complete negotiations for the Spanish match. Having accurately forecast that the Spanish infanta would marry a Catholic kinsman and personally promoted the advantages of a French bride for the prince, Herbert was devastated when he was recalled to allow ambassadors more acceptable to Louis XIII to negotiate a French match. The chapter ends with a review of his diplomatic career, set within the wider context of James I’s treatment of ambassadors. It emphasizes the accuracy of Herbert’s diplomatic predictions about Spanish and French priorities and intentions, and debunks the view that Herbert returned to England in disgrace in either 1621 or 1624.

Abstract This chapter defines the kind of collaborator Shakespeare was in his late period, and considers in detail the particular authorial and wider artistic characteristics of Shakespeare’s late collaborations, Pericles, All Is True, and The Two Noble Kinsmen, also briefly considering Cardenio. Considering the late-Victorian idea of ‘romance’ in all we conventionally associate with Shakespearean lateness, it explores how he worked with George Wilkins and John Fletcher, his two late collaborators, and compares the literary and dramatic outcomes of these collaborative enterprises with those of his early career. An extended coda addresses Shakespeare’s discernible attitudes towards literary authorship, how that changed across the course of a long career, and how collaboration finally fits into that ideal.