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1
Carenwall, Carl. "Adaptive binarization of 17th century printed text." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-188155.
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This work focused on implementing and evaluating an adaptive water flow model for binarization of historical documents, as presented by Valizadeh and Ehsanollah in an article published in early 2012. While the original method sought an optimal result for all kinds of degraded documents, both on hand written and printed, the work presented here only needed to be concerned with printed documents. This was due to being focused on specific documents scanned by the Uppsala university library. The method itself consists of several steps, including a couple that uses other methods for binarization to achieve a good result. While the implementation appears to have been largely successful in replicating the results of the original method, it is very possible that some minor tweaking could result in further improvements. To replicate the results, however, a new parameter had to be inserted in the method. Regardless if this was because of some mistake, or if the sample data used by Valizadeh and Ehsanollah simply differs from the one used here, this may be worth looking more at. In the end of this report are comparisons with a couple of common and state-of-the-art methods for binarization, and this method appear to perform favourably in most cases.
2
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.
3
Irvine, Verity Elizabeth. "The 'oriental' ambassador in 17th century French comedy." Thesis, University of Kent, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410870.
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Martin, Henri-Jean. "Print, power, and people in 17th-century France /." Metuchen (N.J.) ; London : Scarecrow, 1993. http://catalogue.bnf.fr/ark:/12148/cb37506692s.
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Wiese, Helen Lloy. "Lully's Psyché (1671) and Locke's Psyche (1675) : contrasting national approaches to musical tragedy in the seventeenth century." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42070.
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The English semi-opera, Psyche (1675), written by
Thomas Shadwell, with music by Matthew Locke, was thought at
the time of its performance to be a mere copy of Psyche
(1671), a French tragedie-ballet by Moliere, Pierre
Corneille, and Philippe Quinault, with music by Jean-
Baptiste Lully. This view, accompanied by a certain
attitude that the French version was far superior to the
English, continued well into the twentieth century.
This view is misleading; although the English play was
adapted from the French, both were representative of two
well-developed native theatrical traditions. Therefore,
though there are certain parallels, both in plot and in the
subject matter of some musical numbers, the differences in
structure, both of the drama and of the music, are more
significant.
This thesis is a comparative study of the two plays,
analyzing both their dramatic and musical structures, and
examining them both from the context of the two theatrical
traditions. It is concluded that the literary approach to
tragedy of French theater resulted in the separation of
drama and music, the latter relegated to the prologue, or to
end-of-act diversions called intercedes. This allowed Lully
to have great control over his music, and in Psyche (1671),
he was concerned with the form of each intermede as a whole
instead of striving for a variety of forms and ensembles
within individual songs. Most of his songs and dances are
solo airs in binary form; he makes little use of chorus and
ensembles. On the contrary, the music in Psyche (1675) on
many occasions was integrated with the plot, and was
scattered randomly throughout the play. This prevented
Locke from having artistic control over his compositions;
Shadwell, the lyricist, determined where the music would
occur, the ensembles to be used, and the moods of songs.
Shadwell and Locke were concerned with the variety in each
individual piece, rather than with unifying the overall form
of musical scenes, and the overwhelming majority of songs
have a combination of solo voice, ensembles, and chorus.
Therefore, Psyche is not an unoriginal copy, but is a
reinterpretation of the myth using the aesthetic of the
Restoration tragic theater.Arts, Faculty of
Music, School of
Graduate
6
Coll, Rosemary. "Aspects of the Verb in 17th-century Irish Texts." Thesis, University of Ulster, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527462.
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Levitt, Ruth L. "Cuyp's cattle : aesthetic transformations in Dutch 17th-century art." Thesis, University College London (University of London), 1990. https://kclpure.kcl.ac.uk/portal/en/theses/cuyps-cattle-aesthetic-transformations-in-dutch-17thcentury-art(b4f9c421-cfd9-4221-aae2-54ed218b139f).html.
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This study investigates the depiction of cattle by the Dutch painter Aelbert Cuyp (1620-91). It seeks to identify possible reasons for his choices of subject-matter and to trace the implications- for subsequent taste. Origins of the Dutch 17th-century veestuk (cattle piece) can be found in artefacts and writings of many earlier cultures, in which cattle images served mythological, religious, instructional and other functions. The real and symbolic importance of Dutch cattle husbandry and dairy farming contributed further significance to this iconography, and in Cuyp's day the 'Dutch cow' was recognised as a patriotic emblem for the politically independent and economically successful United Provinces. Analysis of the colours and condition of contemporary cattle and of farming practices suggests there were evident differnces between the subjects as Cuyp depicted them and the actuality from which he derived his compositions. This prompts a reconsideration of claims, that 'realism' is the prime character of Cuyp's art. It is proposed that Cuyp adopted a deliberately selective and idealised vision, representing rural subjects in nostalgic terms. Aspects of the intricate interrelationship between observable actuality and pictorial invention are exposed by attending to the cultural imperatives that informed and were informed by the pictures. Cuyp's works not only exploited estab1ished associations to images of cattle but also carried moralising, pietistic and entertaining messages, similar to those found in still-life and genre subjects, whose meaning has become lost to modern observers. Cuyp seems to have worked entirely for a local clientele, and, since Dordrecht was not an agricultural centre, explanations of the appeal of his cattle images are sought in that community's prevailing patrician and burgerlijk attitudes and beliefs about rural subjects. It is argued that his paintings, rather than being regarded as neutrally descriptive reflections of local conditions, were valued both for their illusionistic naturalism and for their underlying meanings. Cuyp's posthumous reputation in Dordrecht and subsequent influence are examined in the light of these aesthetic transformations.
8
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.
9
Sabbadini, Lorenzo. "Property, liberty and self-ownership in the English Revolution." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8678.
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This thesis seeks to develop our understanding of ideas about political liberty in the English Revolution by way of focusing on the issue of property, a topic unduly neglected in the secondary literature. Most writers of the period conceived of liberty as absence of dependence, but what has been little examined is the extent to which it was believed that the attainment of this condition required not only a particular kind of constitution but a particular distribution of property as well. Here the central ideal became that of self-ownership, and the thesis is largely devoted to tracing the rise, eclipse and re-emergence of this way of thinking about the connections between property and liberty. Chapter 1 considers the emergence, in the ‘paper war’ of the early 1640s, of the radical Parliamentarian view that all property ultimately resided in Parliament. It was to oppose this stance, Chapter 2 argues, that the Levellers began to speak of ‘selfe propriety’, transforming the Parliamentarian notion of popular sovereignty into an individualist doctrine designed to protect subjects and their property from not only the king but also Parliament. Elements of both the Parliamentarian and Leveller discussions of property were taken up by John Milton and Marchamont Nedham (Chapter 3), while James Harrington offered an alternative theory that eschewed the notion of self-ownership (Chapter 4). After a chapter considering the relationship between property and freedom in Henry Neville and Algernon Sidney, the final chapter focuses on John Locke’s revival of self-ownership in his attempt to ground property rights in the individual’s ownership of his ‘person’. Although Locke is shown to offer a theory of private property, the Locke that emerges is not a proto-liberal defender of individual rights but a theorist of neo-Roman freedom whose aim was to explain the connection between property and non-dependence.
10
Ellwood, Mark Richard. "The Roman Catholic peerage and the Crown in late seventeenth-century Ireland." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610232.
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Billinge, Richard. "Nature, grace and religious liberty in Restoration England." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:18c8815b-4e57-45f5-b2c1-e31314a09d4f.
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This thesis demonstrates the importance of scholastic philosophy and natural law to the theory of religious uniformity and toleration in Seventeenth-Century England. Some of the most influential apologetic tracts produced by the Church of England, including Richard Hooker's Laws of Ecclesiastical Polity, Robert Sanderson's Ten lectures on humane conscience and Samuel Parker A discourse of ecclesiastical politie are examined and are shown to belong to a common Anglican tradition which emphasized aspects of scholastic natural law theory in order to refute pleas for ceremonial diversity and liberty of conscience. The relationship of these ideas to those of Hobbes and Locke are also explored. Studies of Seventeenth-Century ideas about conformity and toleration have often stressed the reverence people showed the individual conscience, and the weight they attributed to the examples of the magistrates of Israel and Judah. Yet arguments for and against uniformity and toleration might instead resolve themselves into disputes about the role of natural law within society, or the power of human laws over the conscience. In this the debate about religious uniformity could acquire a very philosophical and sometimes theological tone. Important but technical questions about moral obligation, metaphysics and theology are demonstrated to have played an important role in shaping perceptions of magisterial power over religion. These ideas are traced back to their roots in scholastic philosophy and the Summa of Aquinas. Scholastic theories about conscience, law, the virtues, human action and the distinction between nature and grace are shown to have animated certain of the Church's more influential apologists and their dissenting opponents. The kind of discourse surrounding toleration and liberty of conscience is thus shown to be very different than sometimes supposed. Perceptions of civil and ecclesiastical power were governed by a set of ideas and concerns that have hitherto not featured prominently in the literature about the development of religious toleration.
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Meredith, Victoria Rose. "The use of chorus in baroque opera during the late seventeenth century, with an analysis of representative examples for concert performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186254.
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The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.
13
Boguszak, Jakub. "Actors' parts in the plays of Ben Jonson." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:7732f887-5a9d-4fc6-afce-9bc4242265f9.
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The thesis continues the work undertaken in recent years by (in alphabetical order) James J. Marino, Scott McMillin, Paul Menzer, Simon Palfrey, Tiffany Stern, Evelyn Tribble, and others to put to use what is now known about the purpose, distribution, and usage of early modern actors' parts. The thesis applies the new methodology of reading 'in parts', or reconstituting early modern plays 'in parts', to the body of plays written by Ben Jonson. The aim of the project is to offer a reconsideration of Jonson as a man of theatre, interested not only in the presentation of his works in print, but also in their production at the Globe and at Blackfriars. By reconstructing and examining the parts through which the actors performing in Jonson's plays accessed their characters, the thesis proposes answers to the questions: how can we read and analyse Jonson's plays differently when looking at them in terms of actors' parts; did Jonson write with parts in mind; what did Jonsonian parts have to offer actors by way of challenge and guidance; what can we learn from parts about Jonson's assumptions and demands with regard to the actors; and how did actors themselves respond to those demands. These questions are significant because they engage critically with the tradition of seeing Jonson as a playwright dismissive of actors and distrustful of the theatre; they seek to establish a perspective that allows us to assess Jonson's abilities to instruct and challenge his actors through staging documents. More generally, the research contributes to the studies of the early modern rehearsal and staging practices and invites consideration of Shakespeare's part-writing techniques in contrast with those of his major rival. With no surviving early modern parts from Jonson's plays (indeed with only a handful of surviving parts from the period), the first task is to determine the level of accuracy with which the parts can be reconstructed from Jonson's printed plays. Stephen Orgel was by no means the first critic who used the example of Sejanus to assert that Jonson habitually doctored his plays before they were published, but his view has become a critical commonplace. This thesis re-examines the case of Jonson's revisions and concludes that, far from being representative, the 1605 Sejanus quarto is an anomaly which Jonson himself needed to account for in his address to the reader. It is true that Jonson cultivated a distinct style of presentation of printed material, but the evidence that he extensively tampered with the texts themselves after they were performed is scarce (again, the revisions found in the Folio versions of Every Man in His Humour and Cynthia's Revels are addressed and found to be exceptional, rather than typical), while the evidence of his pride in the original compositions and performances is much stronger. Since such enhancements as dedicatory poems, arguments (i.e. plot summaries), character sketches, or marginalia have no bearing on the shapes of actor's parts, they do not in any way compromise the reliability of the printed texts as sources from which Jonson's parts can, argues the thesis, be reconstructed with reasonable accuracy. Jonson, himself an actor and apparently a friend and admirer of a number of great actors of his age (Edward Alleyn, Nathan Field, Richard Robinson, Salomon Pavy, Richard Burbage), knew from personal experience how much depended on actors mastering, or, in their terminology, being 'perfect' in, their parts. By granting the actor access only to select portions of the complete play-text (i.e. his own lines and cues), the part effectively regulated the performance in cases when the actor had only limited knowledge of the rest of the play. Such cases seem to have been very common: documentary evidence suggests that actors had to learn their parts on their own over the course of a few weeks, and only then attended group rehearsals, most of which were concerned with 'business', not text which had already been learned. While some might have attended a reading of the play (if one was arranged for the benefit of the sharers, for instance), or gained more information about the play from their fellow actors, the parts remained their chief means of internalising their text and acquiring a sense of the play they were in. Jonson, who was not a resident playwright with any company performing in London and thus probably did not always have easy and regular access to the actors, could sometimes have taken advantage of the actors' dependence on their parts and crafted the parts as a means of exercising control over the performances of his plays. Building on this premise, the thesis examines various features of actors' parts that would have made a difference to an actor's performance. It draws on recent advancements in the studies of textual cohesion (linguistic features such as reference, substitution, ellipsis, etc.) to point out how the high and low frequency of cohesive ties (pairs of cohesively related words or phrases) in various sections of the part would have given an actor a good idea of how prominent his part was at any given moment. It examines Jonson's use of cues and patterns of cueing: like Shakespeare, Jonson was fond of using repeated cues to open up a space for improvisation, and he seems to have been aware of the need to provide the apprentices in the company with parts cued by a limited number of actors so as to allow for easier private rehearsals with their masters. The thesis also examines the common feature of Jonson's 'split jokes' - jokes that are divided across multiple parts - and asks whether any kind of comic effect can be achieved by excluding the punch line of a joke from the part that contains its setup, and the setup from the part that delivers the punch line, offering a fresh look at the nature of early modern comedy. In structural terms, the thesis considers how a narrative constituted solely by the lines present on an actor's part can diverge from the narrative of the play as a whole and how an understanding of a play as a text composed of actors' parts, as well as of acts and scenes, can help to refine arguments about Jonson's assumptions about the strengths of the companies for which he wrote. What emerges is an image of Jonson who, far from concerned only with readership, consciously developed a brand of comedy that was uniquely suited to, perhaps even relying on, the solipsistic manner in which the actors received and learned their parts.
14
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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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.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.
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.
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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Watson, Andrew. "Influences on court advocacy from the 17th to the 21st century." Thesis, University of Surrey, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576121.
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Court advocacy in England and Wales, and the United States, has, over the last three centuries, been very fluid and remains so. It certainly did not develop according to an over- riding logical plan, but has grown piecemeal and at an uneven pace, the result of a complex interplay of many influences. An attempt is made to identify as many of these, chronologically, as possible. A non exhaustive list of principal factors, the relative importance of each has varied over time, includes: the effect on juniors of successful styles and approaches used by senior advocates; judicial tastes for the advocacy of lawyers, especially in the absence of jurors, when it is usually for the practical and the unadorned; changes in court procedure made by judges; reforms in the law of evidence concerning who and what may be put before courts and informing the content of submissions made; alterations in civil and criminal procedure and in the substantive law; the amount of media reporting of court cases; public and press opinion about the acceptable limits of advocates' tactics and oratory; the forming, by advocates, of professional rules of conduct and how mud they are followed; levels of respect and civility between the bench and the bar; the standing 0 the judiciary and its power to control proceedings in court; the extent to which juries are used in trials and the social origins of those serving on them; greater education of jurors and less susceptibility by them to melodramatic appeals to emotion; awareness by advocates that in addressing juries they have to take into account contemporary use of language and, when making allusions, draw on popular culture, itself far from still, formed by newspapers, novels, radio, films, television and increasingly the computer internet; the school educational curriculum, which has substantially evolved, usually received by lawyers and judges; general styles of public speaking and discourse in society; the formal teaching of advocacy, only introduced comparatively recently; and a relationship, although not a simplistic one, between quality of advocacy and the amount parties and the state are prepared to pay for it. New technology will, very probably, exert a strong influence on future forensic oratory. Recent widening of the pool of advocates may also be important. 2
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Miyoshi, Riki. "Thomas Killigrew and Carolean stage rivalry in London, 1660-1682." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:0cf4bd8a-041c-47a9-b82f-bb38ce159dd7.
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This thesis has two aims: to make an original contribution to knowledge by demonstrating the importance of theatrical rivalry to the development of drama in the Carolean period (the reign of Charles II), and to re-evaluate the managerial career of Thomas Killigrew (1612-1683). This is the first detailed survey of the circumstances in which the King's Company and the Duke's Company competed and an analysis of the troupes' devices of plotting and counter-plotting during their twenty-two years of stage rivalry from 1660 to 1682. As well as charting the stage rivalry between the two companies, my dissertation argues that Killigrew was a competent but unscrupulous and devious playhouse-manager. A close analysis of his managerial career will show how Thomas Killigrew was the central figure in the Carolean stage rivalry in London and how he helped to shape the future of English theatre. The survey starts from Killigrew's beginnings as the manager of the King's Company from 1660 and concludes in 1682 when the King's Company was effectively taken over by its rival, the Duke's Company, to make one United Company, thus ending the span of theatrical competition in the Carolean period. Each chapter is divided in accordance with the beginning and end of significant events of rivalry and are organised chronologically at different phases of the competition. The first chapter provides the historical background of the establishment of the patent grants and the gradual consolidation of the monopoly over dramatic entertainment in London. In charting the initial stages of the development of the King's Company and the Duke's Company from 1660 to 1663, this chapter argues that it was largely due to Thomas Killigrew's underhandedness that the King's Company began the competition in an advantageous position. The second chapter focuses on the theatrical competition from 1663 to 1668. Until 1663 both companies were busy consolidating their duopoly and the competition between the two managers ended abruptly with William Davenant's death in 1668. In the survey of the Killigrew-Davenant rivalry, this chapter's overall aim is to argue for narrowing of the wide chasm often described between the managerial skills of the two managers. Chapter three explores the period from when Mary Davenant, Thomas Betterton and Henry Harris took over the management of the Duke's Company to the burning of the King's Company's playhouse in 1672. It argues that the competition in this period was evenly matched. This chapter also revises the perceived style of management adopted by both Betterton and Killigrew. The chapter argues that Betterton was perhaps less involved in the most audacious project of the Duke's Company during these years: the building of three theatres including the Dorset Garden Theatre. In the case of the latter, this chapter argues that Killigrew continually took risks at other people's expense and was little concerned with the well being of his staff and shareholders as long as the company gained notoriety and retained its success. The penultimate chapter of the dissertation covers the time span from the Bridges Street Theatre's fire to the ousting of Killigrew as the manager by his own son, Charles Killigrew. It argues that this was the crucial period in which the Duke's Company began clearly to surpass its rival. This chapter qualifies the orthodox view that the King's Company simply lost its battle against the Duke's Company by demonstrating that the two companies also had to contend with a large number of foreign troupes and the rising popularity of music concerts. The final chapter explores the period from when Charles Killigrew took over the management of the King's Company to the amalgamation of the two acting troupes in 1682. It demonstrates the negative effects of the political turbulence of the Popish Plot and the Exclusion Crisis on both the troupes' plays and players. The chapter also argues that Charles Killigrew was not as charismatic or manipulative as his father, and that he greatly contributed to the demise of the King's Company. In conclusion, this is strictly a study of theatre history that looks at the importance of management and company rivalry to the development of Carolean drama. At its peak in the 1670s, the Carolean period produced on average twenty new plays per season. The highly competitive nature of the rivalry between the King's Company and the Duke's Company and how the respective managements responded to the success or the failure of the other theatre is the background against which one must read the plays of the Carolean period. Thomas Killigrew, whose managerial career spanned the longest in the Carolean years, was an influential figure in the period and whose innovations and difficulties as a manager had a direct effect not only on theatre history but also on the dramatic traditions of the seventeenth century.
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Swanick, Lois Ann. "An analysis of navigational instruments in the Age of Exploration: 15th century to mid-17th century." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/3235.
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During the Age of Exploration, navigation evolved from a field filled with superstition into a modern science in Portugal, Spain, and England. The most common navigation instruments utilized and their subsequent innovations are discussed. The refinement of these instruments led to increased accuracy in cartography, safer shipping, and increased trade globally in the period. In order to have the most comprehensive collection of navigation instruments, I investigated 165 shipwrecks dated between 1500 and 1700. Each of these vessels have been located, surveyed, and/or excavated in whole or in part. A comprehensive list of these vessels, compiled for the first time, has been included. This thesis analyzes navigation-related artifacts recovered from 27 of these shipwreck sites. These instruments provide the basis to develop a typology for archaeologists to more closely date these finds. The navigation instruments recovered from the wreck of LaBelle (1686) are discussed in detail. These instruments and related historical documents kept by the navigator provide a more comprehensive picture of the instruments accuracy and usefulness. This thesis particularly focuses on the nocturnal/planisphere recovered from the site. This unique instrument is one of only four known to exist worldwide and remains accurate enough to be utilized today. Analysis by a modern astronomer has been included, as well as a partial translation of the common names for constellations inscribed on the instrument. These common names provide some important insights into the received knowledge of sailors and non-academic astronomy during this period. It is hoped that this thesis will be of assistance to archaeologists working to identify, study, and appreciate navigational instruments recovered from shipwrecks. With increased documentation and closer dating, these instruments will become a more valuable portion of the archaeological record.
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Palmer, Thomas John. "Jansenism, holy living and the Church of England : historical and comparative perspectives, c. 1640-1700." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:38a685c6-ce86-437d-a651-8e54b88976e9.
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This thesis examines the impact in mid- to later-seventeenth century England of the major contemporary religious controversy in France. The debates associated with this controversy, which revolved around the formal condemnation of a heresy popularly called Jansenism, involved fundamental questions about the doctrine of grace and moral theology, about the life of the Church and the conduct of individual Christians. In providing an analysis of the main themes of the controversy, and an account of instances of English interest, the thesis argues that English Protestant theologians in the process of working out their own views on basic theological questions recognised the relevance of the continental debates. It is further suggested that the theological arguments evolved by the French writers possess some value as a point of comparison for the developing views of English theologians. Where the Jansenists reasserted an Augustinian emphasis on the gratuity of salvation against Catholic theologians who over-valued the powers of human nature, the Anglican writers examined here, arguing against Protestant theologians who denied nature any moral potency, emphasised man's contribution to his own salvation. Both arguments have been seen to contain a corrosive individualism, the former through its preoccupation with the luminous experience of grace, the latter through its tendency to elide grace and moral virtue, and reduce Christianity to the voluntary ethical choices of individuals. These assessments, it is argued here, misrepresent the theologians in question. Nevertheless, their thought did encourage greater individualism and moral autonomy. For both groups, their opponents' theological premises were deficient to the extent that they vitiated morality; and in both cases their responses, centring on the transformation of the inner man by love, privileged the moral responsibility of the individual. Their moral 'rigorism', it is suggested, focusing on the affective experience of conversion, represented in both cases an attempt to provide a sound empirical basis for Christian faith and practice in the fragmented intellectual context of post-reformation Europe.
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Howson, Barry. "The question of orthodoxy in the theology of Hanserd Knollys (c. 1599-1691) : a seventeenth-century English Calvinistic Baptist." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36607.
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Mid-seventeenth-century England saw numerous religious sects come into existence, one of which was the Calvinistic Baptist group. During the upheaveal of the revolutionary years this group was often accused of heresy by their orthodox/reformed contemporaries. At that time Hanserd Knollys, one of their London pastors, was personally charged with holding heterodox beliefs, in particular, Antinomianism, Anabaptism and Fifth Monarchism. In addition, Knollys has been accused of hyper-Calvinism. This version of Calvinism was held by some eighteenth-century English Calvinistic Baptists. Some Baptist historians have suspected Knollys of holding this teaching in the seventeenth-century, or at least they have felt it necessary to defend him against it. All of these charges are serious, and consequently bring into question Knollys' orthodoxy. This thesis will systematically examine each charge made against Knollys in its context, and comprehensively from Knollys' writings seek to determine if they were valid. Furthermore, this thesis will elucidate Knollys theology, particularly his soteriology, ecclesiology and eschatology.
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Carrier, Isabelle. "Virtuosité procédurière : pratiques judiciaires à Montpellier au Grand Siècle." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84487.
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The judicial system of seventeenth-century France is often qualified as vitiated and inefficient. Actually, truth and equity are virtually absent from the court. In these conditions, why would one appeal to institutional justice? Montpellier notables use the judicial system to exert pressure on a debtor, to redress the internal familial order, to sidestep customary practices, to take revenge, to cause harm. Indeed, the question of law is rarely something other than a pretext, and it is precisely because it is vitiated that the judicial system can be used in that way. The analysis of the procedural practices and of the judicial system as they are---instead of as they should be---allows us to penetrate the fascinating universe of social, familial and financial practices. Furthermore, the emphasis on the civil procedures reveals an original perspective which goes beyond the points of view of notarial and criminal archives usually preferred by historiography. The petty Montpellier notables studied here are steering a delicate course between customs, laws and procedures. Far from suffering the imperfections of the judicial system, they are adopting them, appropriating and using them as means of meeting their own objectives. The recourse to justice is similar to a game of chess: the judicial system is the chessboard, its defects are the chess pieces and the jousts, always fought inside the same frameworks and with the same weapons, are opposing various opponents displaying different strategies.
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MacKechnie, Aonghus. "Scots court architecture of the early 17th century : the absentee-court architecture of Sir James Murray of Kilbaberton, William Wallace and their circle, in the early 17th century." Thesis, University of Edinburgh, 1994. http://hdl.handle.net/1842/19955.
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Davis, John Robert. "From Harry to Sir Henry| Social mobility in the 17th century Caribbean." Thesis, Western Carolina University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587335.
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During the 17th Century, the Caribbean saw an explosion in seaborne raiding. The most common targets of these raids were Spanish ships and coastal towns. Some of the men who went on these raids experienced degrees of social and economic mobility that would not have been possible in continental Europe. This was because the 17th Century Caribbean created an environment where such mobility was possible. Among these was a Welshman was known to his compatriots as Harry Morgan. By the end of his life, Morgan would become one of the most famous buccaneers in history, a wealthy sugar planter, the Lieutenant Governor of Jamaica, and a knight.
No one is exactly sure of Morgan's social status before he entered the Caribbean. Historians largely agree that he was born to a freeholding family in Wales, although some dissenters contend that Morgan entered the Caribbean as an indentured servant. From either position, he experienced a high degree of social and economic mobility through his raids against the Spanish Empire and the conventional businesses that those raids funded. His life does not represent the way that social or economic mobility worked for a typical buccaneer. What it does represent is the best case scenario for an individual who came to the Caribbean and engaged in buccaneering. Morgan utilized his raiding as a means to fund more conventional business interests such as sugar planting. This paper argues that the Caribbean provided a unique political, economic, and military atmosphere for an individual to climb the social and economic ladder from Harry Morgan, a common buccaneer, to Sir Henry Morgan, Lieutenant Governor of Jamaica and Admiral of Buccaneers.
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Kahanoff, Eliezer. "Patterns of secularisation of the Western Sephardi Diaspora in the 17th century." Thesis, University College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246699.
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Van, Kleeck Peter William. "Hermeneutics and theology in the 17th century the contribution of Andrew Willet /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Chapin, Regina L. 1965. "A faunal analysis of the 17th century galleon Nuestra Senora de Atocha." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/278482.
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The vertebrate faunal analyses of the 17th century sunken Spanish galleons, Nuestra Senora de Atocha and to a lesser extent, the Santa Margarita have yielded relevant information on the transportation of animal types across the Alantic. The collection from the Atocha includes 986 identifiable bones, which mainly consist of various fish, reptiles and mammals, although a few bird bones are noted. Remains were collected from 16 areas either within what was left of the ship, or in sections measured away from the wreck. Evidence has shown that a few animals, namely Sus scrofa and Ovis/Capra, had been consumed during the voyage, due to cut marks and/or burned areas. Fresh fish were also a major food source on board ship. Other species were transported alive for use as breeding stock, curiosities for European zoos or as commodities. Hence, this assemblage provided important information about human-animal interactions aboard such sailing vessels.
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Laanela, Erika Elizabeth. "His Majesty's Ship Saphire and the Royal Navy in 17th-Century Newfoundland." W&M ScholarWorks, 2019. https://scholarworks.wm.edu/etd/1563899019.
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The English fifth-rate frigate Saphire was set on fire by its commander in Newfoundland during an attack by a French squadron in September 1696. Prior to its untimely sinking, this small warship had served the Royal Navy for over two decades, primarily in the Mediterranean, acting as convoy and escort to English shipping. This study combines multiple lines of evidence, including archaeology and material culture recovered from the wreck and contemporary documents, art, and illustrations, to explore the significance of the Saphire through a series of multi-scalar and diachronic interpretive lenses. The approach is inspired by an analytical framework for the study of wrecks first proposed by Muckelroy in 1978, while employing a multi-disciplinary methodology informed by social theory to orient the ship in its social and historical context. The first lens considers the Saphire at the broadest level, as an entangled tool of the Royal Navy built and operated at great cost to advance the imperial ambitions of England’s Stuart rulers in the late 17th century. Contemporary records allow the formulation of a biography of this small warship from its launching in 1675 to its loss in 1696, situated against the backdrop of the major political, military and social events of 17th century England. Although the ship was not fully excavated, available archaeological information, naval correspondence and contemporary images illuminate the material processes of constructing, outfitting, operating and maintaining the Saphire as a complex technological artifact. The second lens focuses on the significance of the Saphire at the regional level by examining the social and economic relationships between naval personnel and the settlers and fishers of Newfoundland in the late 17th century. At that time, naval commanders played a role not only in defense, but also in government and judicial affairs of the island. A comparison of material culture recovered from the Saphire with the archaeological record of settlements such as Ferryland illustrates how seaborne trade led to an increasingly globalized material culture that represents a growing consumerism. The third lens examines social relationships and daily life on a small warship in the late 17th century through the material culture from the wreck and contemporary documents. It looks at how naval hierarchy was established, expressed and contested. The concept of assemblages of practice is used to better understand how the artifacts recovered from the wreck reflect the habitus of the daily lives of 17th-century seamen.
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Lievens, Lore Lotte <1993>. "A vast unknown population. Parchment bookbindings in the 16th and 17th century." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10776.
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The study of parchment bookbindings in the past has been greatly neglected. Interest for the bindings was in fact associated with the antiquarian book market and limited to the so-called artistic binding; decorated covers that are rather rarely found on parchment. The recently developed interest for them is more concentrated on particularities in small samples of study than on the entire ‘population’ of the bindings. The current research therefore focusses on the general evolutions of the materials and the manufacturing techniques of parchment bindings from the 16th and 17th century. A sample of about 5000 bindings of printed books kept in the Bishop's Seminary Library of Padua forms the basis of this study.
Two research objectives are aimed. First, a methodology is proposed to extend the traditional research corpus and to deal with a quantitative remarkable amount of parchment bindings. Second, a more detailed study is performed summarizing significant evolutions and trends in the history of parchment bindings, both cultural and chronological. In the first phase, relevant characteristics for the research has been selected. Material and structural characteristics of each binding has been collected in a database. Besides, models are derived to describe the (combination of the) most common characteristics, to group bindings and to facilitate the second step of the research. In that phase, the database has been interrogated to highlight chronological tendencies and variations between different language areas. In this way, the experimental research aims to present a unique view on the chronological evolution and the cultural variations in the structural characteristics and the techniques of the manufacturing of the parchment bindings.
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Michel, Robert 1944. "English marriage and morals 1640-1700 : issues and alternatives." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76581.
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Oliver, Ryan. "Aliens and atheists: The Plurality of Worlds and Natural Theology in Seventeenth-Century England." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5134/.
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The plurality of worlds has had a long history in England, which has not gone unnoticed by scholars. Historians have tended to view this English pluralist tradition as similar to those found on the continent, and in doing so have failed to fully understand the religious significance that the plurality of worlds had on English thought and society. This religious significance is discovered through a thorough investigation of plurality as presented by English natural philosophers and theologians, and in so doing reveals much about England in the seventeenth century. As natural philosophers incorporated plurality within the larger framework of natural theology, it became a weapon of science and reason to be used against the unreasonable atheists of late seventeenth-century England.
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Patterson, Patrick. "The Debate over the Corporeality of Demons in England, c. 1670-1700." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12180/.
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According to Walter Stephens, witch-theorists in the fifteenth century developed the witchcraft belief of demon copulation in order to prove the existence of demons and therefore the existence of God. In England, during the mid-seventeenth century, Cartesian and materialist philosophies spread. These new philosophies stated there was nothing in the world but corporeal substances, and these substances had to conform to natural law. This, the philosophers argued, meant witchcraft was impossible. Certain other philosophers believed a denial of any incorporeal substance would lead to atheism, and so used witchcraft as proof of incorporeal spirits to refute what they felt was a growing atheism in the world. By examining this debate we can better understand the decline of witchcraft. This debate between corporeal and incorporeal was part of the larger debate over the existence of witchcraft. It occurred at a time in England when the persecution of witches was declining. Using witchcraft as proof of incorporeal substances was one of the last uses of witchcraft before it disappeared as a valid belief. Therefore, a better understanding of this debate adds to a better understanding of witchcraft during its decline.
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Powell, Hunter Eugene. "The Dissenting Brethren and the power of the keys, 1640-1644." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/252255.
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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.
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Kjaergaard, Mette, and n/a. "Dance at the seventeenth-century Danish court." University of Otago. Department of Music, Theatre Studies and Performing Arts, 2008. http://adt.otago.ac.nz./public/adt-NZDU20081127.161219.
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This thesis examines the culture and practice of dance in Denmark in the seventeenth century, focussing on the performance practice within festivals, the pervading French influence and philosophical discourse of dance.
The repertoire of staged court dance in Denmark comprises ballets and plays performed in conjunction with festival events such as coronations, weddings, and christenings. Typical is the 1634 festival in honour of Prince-Elect Christian and Magdalena Sibylla�s wedding in Copenhagen, a celebration of international significance. Subsequent celebrations during the reigns of Frederik III and Christian V followed similar models. The festival of 1655 in homage of Prince Christian, for example, gave rise to performances of the ballet Unterschiedliche Oracula, and the German-language opera Arion. The programmes from these performances, along with other contemporary descriptions, provide evidence of aspects of the ballet genre, stage construction, machinery, characters, allegory and political themes. The Danish productions, which also include an equestrian ballet, are in many respects comparable to French court ballets produced from the beginning of the century.
Evidence that French choreographies were known in Denmark is clearly provided by choreographies in the publication Maître de Danse (Glückstadt 1705) and the Danish manuscript of violin dance tunes Additamenta 396 4�. Evidence that the Danish aristocracy actively sought and coveted French culture can be found as early as the wedding festival in 1634 and well into the eighteenth century. French acculturation is evident elsewhere too, such as in Ludvig Holberg�s comedy Jean de France (1722), in a translation of French dance etiquette for youth, in contemporary accounts of French clothing and language, and by the employment of French musicians and dancing masters at the Danish court.
Included is an examination of Andreas Schroder�s treatise De Saltatoribus (Flensburg 1622) and Thomas Bartholin�s dance chapter in his book Qu�stiones Nuptialis (Copenhagen 1670) as significant Danish primary sources. These sources are placed in contrast with contemporary European dance manuals such as Arbeau, De Lauze, Esquivel de Navarro, Caroso and Negri. Danish and other European authors differ in their views on the morality of dance, although they cite many of the same Ancient and Biblical sources for their persuasive arguments.
Just as Denmark was connected to other countries of northern Europe in a complex political web, so too did these courts share artistic and cultural traditions, which are reflected in the sources related to dance. Danish dance practices can especially be demonstrated to be akin to those of neighbouring German courts, which, like Denmark, imitated the dance fashions of France.
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Vanan, Shalini Mikaela. "17th-century Neapolitan paintings of the Flagellation of Christ : temporality, pain & performance." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43143.
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The Biblical narrative of the Flagellation of Christ persisted in visual representations through the medieval and early modern eras when it was replicated in passion plays, illustrated manuals, sculpture and painting. In 17th-century Naples, several variations on the Flagellation scene were produced by artists such as Michelangelo Merisi da Caravaggio, Giovanni Battista Caracciolo, Jusepe de Ribera, Bernardo Cavallino, Andrea Vaccaro and Luca Giordano. Because it was the first of a series of images, scholars have often viewed Caravaggio’s Flagellation of Christ as the model for all succeeding artists. In this thesis I work against this notion choosing instead to focus on the prevalence of three major themes—temporality, pain and performance—through which to consider the series of paintings as a whole. Using an interdisciplinary approach I address the socio-cultural implications of the practice of flagellation and trace it from its roots as a medieval monastic practice to its widespread prominence in 17th-century Naples. In the examination of three different examples of Neapolitan paintings of the Flagellation of Christ, it becomes apparent that these images suggest violence without overtly displaying it. The implicit corporeal mutilation in the paintings relies primarily on the various accouterments of torture. These devices constitute a visual language that expresses pain through their presence—either implied through gestures, or as props—rather than through the depiction of mortification of the skin. This positions pain in the external world where it is prompts reflection on the performance of flagellation rather than an individual embodied experience. Considering the 17th-century Neapolitan context, I argue that these paintings participated in a dialogue with communal acts of flagellation that can be seen as performances. Using Gilles Deleuze’s notion of ‘becoming’ as a methodological framework, and considering the social practices of Naples and the revivified religious doctrine of the Imitatio Christi, I argue that these paintings, considered as a series, constitute repetitive performances of the same subject through the representation of distinctively different temporal moments.
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Schenck, Catherine. "Interaction, integration, and innovation at the 17th century feira of Dambarare, northern Zimbabwe." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/26944.
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Several feiras (or trading towns) were established north and south of the Zambezi River towards the end of the 16th and early 17th centuries. Those feiras south of the Zambezi were mercantile and domestic settlements built by the Mutapa state and the Portuguese, and acted as points of contact between foreign and local traders. Dambarare, one of the more important feiras of the 17th century, was excavated in 1967 and the archive subsequently grew due to development activities in the region. In nearly fifty years, no-one has considered this archive as a whole, and few questions have been asked about the nature of the relationships between its inhabitants, and between them and their neighbours. The archival records are considered to better understand the site, and the objects are approached by considering their ability to show multivocality and entanglement at a site where various people were converging. The themes of interaction, integration, and innovation at this contact site are put to the fore in this dissertation. The results of the study point to a much more complex settlement and manner of interaction than previously understood. It does not seem as though changes and adaptations were brought on by force from one group at the site, but rather choices were deliberate, whether by choice or necessity. These interactions indicate a complex negotiation and creolisation that occurred between the various identities at the feira. These interpretations then fit into a larger attempt in the archaeology of the region to better understand the role of hinterland communities in the Indian Ocean Trade System, and to change existing opinions of such sites and their peopling. This dissertation attempts, therefore, to show that at a Zambezian hinterland site such as Dambarare, people were not merely passive receptors, but rather active agents in the changes that occurred, as well as causing their foreign counterparts to adapt to them.
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Richardson, A. L. "The transformation of the Ulster landscape from the 17th to the 19th century." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680388.
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This thesis addresses changes in the layout of the agricultural landscape in Ulster from the 17th to the mid-19th century. Rural Ireland underwent considerable change during this period, with rundale - a type of openfield farming - giving way to the network of regular, enclosed fields present throughout most of the country today. This work draws on data gathered from archival cartography and supporting documentation to record and analyse patterns and progress from a variety of case-studies. Geographic Information Systems (GIS) was employed to carry out the investigation. Extant work on the Ulster landscape during the period in question is dated and has tended to focus on marginal areas of the country. It has been presumed that the patterns observed in such marginal piaces must apply throughout the country. The use of GIS in this thesis brings the research topic up-to-date, enabling accurate processing of large volumes of data. This was not previously possible. A new methodology for the application of GIS in the Irish context was developed. The case-studies selected for analysis are situated in more fertile, central locations than the areas addressed in the extant literature. This enabled comparison with the marginal places investigated in earlier work. Conclusions could therefore be drawn regarding the accuracy of the assumption of a fairly homogenous process of change between the 17th and 19th centuries in Ulster. The case-studies were also set in context with agricultural change in England and Scotland. The work undertaken in this thesis is of value not only within academia, but also in relation to the creation of policies for landscape management and conservation.
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Zweigman, Leslie Jeffrey. "The role of the gentleman in county government and society : the Gloucestershire Gentry, 1625-1649." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76528.
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This study presents a picture of the social, political and economic life of the Gloucestershire county community on the eve of, and during the civil war, and discusses the causes and effects of the conflict in the Gloucestershire context.Chapter One describes the county in 1640, studying its physical features, wealth and pursuits and social structure. The second chapter offers a survey of the 'county community,' the prominent county families who formed a small but most powerful and influential group in the county.
Chapter Three attempts to classify the established county gentry in terms of landed income and to consider how far it is possible to describe the class as 'rising' during the early seventeenth century. The fourth chapter covers the personal lives of the resident peers and major gentry, considering the strength and impact of kinship and marriage bonds among the leading families.
Chapter Five considers the role of the gentry is governors of the shire. The sixth chapter traces the development of opposition in the county to the policies of the Caroline government.
Chapter Seven presents a narrative of 1640-42. The next chapter suggests that, at the beginning of the civil war, the elite gentry families began losing their predominance in county affairs due to external commitments and divisions among them.
The ninth chapter describes military rule in Gloucestershire between 1642 and 1646. Finally, the last chapter assesses some of the effects of civil war.
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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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Stone, Mathew, and University of Lethbridge Faculty of Arts and Science. "A comparative analysis of criminal procedure in seventeenth-century France and Puritan Massachusetts." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2000, 2000. http://hdl.handle.net/10133/123.
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Chapter I is a discussion aimed at providing the reader with a basic understanding of the complex system of social classification that was in a place in ancien regime France for centuries. Chapter II outlines the development of a royal system of justice prior to our period and the royal courts, whose form and hierarchy were the result of years of reform. These chapters represent the judical and social extremes that procedure linked. Chapter III is a thorough and complete discussion of the entire possible process in France during our period. This chapter clearly outlines the order of phases that the French courts followed in a typical prosecution and takes into account that these procedures were the result of years of practice and experience. These three chapters are tied together with a review of the major concepts up to that point and presents a transition from France to a series of chapters devoted to understanding the situation in Massachusetts Bay Colongy. Chapter V offers chronological approach to the development of both laws and courts in the colony. Chapter VI consists of discussion of the procedures used in the colonial courts, and attempts to identify the major English and Puritan influences within the colonial process as they arise. Again, these three chapters are tied together with a review of the major conclusions to be derived from the chapters on Massachusetts. This study concludes with Chapter VII, which offers the reader the comparative analysis of the two systems of procedure. This comparative chapter is structured to reflect the three basic functions we ascribed to criminal procedure at the outset of this discussion.268 leaves ; 28 cm.
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Baird, J. Aileen. "Medical and popular attitudes toward female sexuality in late seventeenth century England (1660-1696)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22557.
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This thesis is an analysis of medical and popular views toward female sexuality in late seventeenth century England (1660-1696), based on the study of learned vernacular medical texts, personal sources and popular literature. In that period, women's subordinate social status to men was largely determined by their 'inferior' biology; "female illnesses" were considered to be a product of women's innate physiological 'weakness' as defined by humoral medical theory, and their reproductive organs were linked to their less restrained (than men's) sexual desires.This research examines those medical and social ideas that defined the female sex in late seventeenth century England, in conjunction with women's own records of their experiences; it is argued that while their physiology was used to justify their inferior social status, women's degree of self-autonomy in early modern England--particularly in the area of pregnancy and childbirth--was probably far greater than would be thought from an examination of the contemporary printed sources. This thesis also demonstrates how medical and social attitudes toward women mutually reinforced the secondary position of women in that society.
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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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Snook, Lorrie Jean. "The performance of sexual and economic politics in the plays of Aphra Behn." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185960.
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Since her work as a professional playwright in the 1670s and 1680s, critics have sought to equate Aphra Behn and her plays, to fix and stabilize the body of the writer and of her work. She has been marked as a prostitute, a feminist, and a masculinist hack, in each case her gender determining the value of and audience for her writing. This dissertation argues that Behn's plays--and Behn--should be read in terms of her controlling tropes and forms of performance and intrigue. Her plays and her presence use these tropes and forms to decenter the idea of identity and manipulate conventions of gender roles in the patriarchal Restoration theater. In doing so, she recasts and reconstitutes the structure of the patriarchal theater and economy. Chapter 1 introduces my argument and presents an overview of critical and feminist responses to Behn. I use this overview to present my own view of identity as performance, opposing such essentialist theorists as Helene Cixous. Chapter 2 develops the historical and metaphorical associations of intrigue and performance, beginning with her Preface to The Dutch Lover; in reading two of her lesser-known intrigue-comedies, The Dutch Lover and The Feign'd Curtezans, or a Night's Intrigue, I then argue that performance and intrigue challenge the conventional engendering of roles such as the rake and the courtesan. Chapter 3 expands these associations and reads her economic metaphors, as I look at Behn's most famous intrigue-comedy, The Rover, and its sequel; as well as challenging conventional roles and economic valuations, however, The Rover, Part II emphasizes the ultimate inescapability of these roles and valuations in the patriarchal theater. Chapter 4 moves to her town-comedies; I argue that Behn adapts the intrigue-form to her comedies of manners, working out the characters' struggle between convention and nature to define public and private selves. Sir Patient Fancy sets up the power that the manipulation of convention offers; The City Heiress emphasizes the limits of such manipulation; The Lucky Chance offers magic and ambiguity as new theatrical possibility to subvert convention and recast role.
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Wang, Shuo. "Manchu women in transition gender, ethnicity, and acculturation in the 17th-18th century China /." online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3075081.
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Roy, Francine 1948. ""...Templum nova forma constructum..." : early 17th-century late Gothic churches in Wolfenbüttel and Bückeburg." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31137.
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In the years around 1600, a change was noted in architecture towards a return to Gothic elements in Europe. The Gothic, in contrast to the Classical or Ancient, became a "new manner", a modern style. The residence churches at Wolfenbuttel and Buckeburg, which were erected around 1600 by Lower Saxon territorial princes, are Late Renaissance constructions that were made to look partly Gothic. This was neither a lingering on of Late Gothic design nor a misunderstanding of Renaissance architecture: it was rather a conscious evocation of the past and its merger with contemporary architecture. The forms of the churches recreated thus the sociopolitical reality of both Roman antiquity and the Middle Ages. This architecture was also emblematic in that it used the concrete objects of the churches as a means to convey an abstract content. Indeed, the aim was to provide a powerful political message, the confirmation of princely rule. In the rising absolutism of the beginnings of the 17th century, the builders of the Wolfenbuttel Marienkirche and the Buckeburg Stadtkirche used court architecture to construct their princely image and house mythology.
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Bowdler, Roger Hugh. "Monuments of decay and resurrection : themes of mortality in 17th century English church monuments." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386333.
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Anderson, Simon John. "Music by members of the Choral Foundation of Durham Cathedral in the 17th century." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1166/.
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Durham Cathedral is known to possess one of the largest and most intact collections of 17th-century liturgical music manuscripts in the world. That so much material survived the trauma of the Commonwealth is fortuitous indeed. The history of the pre-Civil War manuscripts has already been researched, and those after the Restoration have been investigated to a degree. The present research is concerned with a detailed study of the music composed by the many Durham musicians of the 17th century contained in the manuscripts, and their related sources. In total over 80 works by 20 composers are represented in varying degrees of completeness. These range from complete autograph texts through to solitary tenor parts. The study is concerned solely with the scene at Durham. To enlarge on earlier research, a detailed study of the manuscripts from the second half of the century is presented. These show the stability of the repertoire and the introduction of much new material towards the end of the century. A newlycompiled catalogue of the related manuscripts at Peterhouse, Cambridge is presented as an appendix. A representation of every piece of Durham-composed music is given. Extracts only are presented of fragmentary items, and also for reasons of space and time where a whole piece of music does not reveal anything significant. Reconstructions are presented of works with one or two parts missing, or where a large amount of material can be recovered from an extant organ part. Transcriptions are presented in cases where a complete text survives. The study is divided into two volumes. Volume one describes the music and its sources, and volume two contains musical transcriptions.
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Griffith, Catherine Lloyd. "William Phylip, ei fywyd a'i waith." Thesis, Bangor University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340493.
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O'SCEA, Ciaran. "In search of honour and a Catholic monarch : the assimilation and integration of an Irish minority in early modern Castile, 1601-1638." Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/10403.
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Defence date: 14 September 2007Examining Board: Prof. Olwen Hufton, (University of Oxford) ; Prof. Bartolomé Yun-Casalilla, (European University Institute) ; Prof. Nicholas Canny, (University College, Galway) ; Dr. Glyn Redworth, (University of Manchester)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
As a consequence of the Castilian monarch’s intervention in Ireland in 1601-02, Irish communities under Spanish royal patronage were consolidated in various parts of its dominions. One of the most important of these was that of La Coruña in north-west Spain, whose Irish population was greatly augmented through royal policy to concentrate the Irish there as a means of diverting Irish migrants away from the court in Valladolid or Madrid. The nature of this emigration from Ireland to Spain involved the transfer of a broad cross-section of the native population, whose oral culture and agnatic kinship structures contrasted with the more written culture and the cognatic family structures of the host society. The long-term presence of this Irish community, dependant on the Castilian crown for economic survival, led to its engagement with the host society and its political and religious structures. This gives us a rare opportunity to view the mechanisms and the processes of assimilation in an early-modern state, which is the subject of this thesis. The results of this investigation can be categorised in terms of the effects and influences of royal institutions, based principally at the court, on both the mental world of the migrants as well as on the socio-cultural structures that they brought with them from Ireland, spread over three phases. The first phase, which lasted until 1609, was characterised by resistance to the host society and avoidance of its institutions. The second phase, from 1610 to 1624, represented a period of transition and transformation, marked by the first signs of engagement with the institutions of the host society at both the local level and at the court, and the beginnings of the breakdown of the community’s kinship structure. The final period witnessed the consolidation of these tendencies as well as the assimilation of Castilian ideas and concepts related to legal status, racial purity, and nobility.
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O'Neil, Maryvelma Smith. "Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.
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This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.