No description available.

Diss. : Fachbereich III : Trier : 1981. - Bibliogr. p. 15-41. Index. -

No description available.

No description available.

The first three cantos of the Book of Courtesy discover to us the realm of social relations, where, as in the sphere of Justice, a strict system of gradation operates. lndeed, Spenser, in the early part of Book VI, sustains much of the atmosphere of the "stonie" age of Book V, and Calidore's initial adventures illustrate the abuses to which a hierarchical order of society lends itself in the fallen world. The poet's artistic exploration of these abuses traces their origins to the mean and malicious impulses of the human mind, which are, in a larger context, manifestations of the cosmic evil that disrupts the quests of all the hero-knights of The Faerie Queene. [...]

This study examines the sixteenth-century English Reformation background of Spenser's Faerie Queene, Book 3. Recovering this material is not simply a matter of opening a Bible, for various groups in the period, both Catholic and Reformer, interpreted its passages differently. The Book's four primary female characters, Belphoebe, Florimell, Britomart and Amoret, embody different aspects of the virtue, and these come into sharper focus in the light of this background. After a general survey of previous discussions of this topic, Chapter 1 examines the virgin Belphoebe and attitudes about celibacy and virginity current in sixteenth-century England, finding that neither Catholic nor Reformer disparaged this state, although in practice they differed dramatically. Chapter 2, considering the plight of Florimell, shows how her actions demonstrate that her chastity is, as these Reformation writers urge, a matter of the mind and soul, the springs from which virtue and its opposites flow. Her quality derives from such inner conviction. Next, Chapter 3, looking at Britomart, shows that Reformation writers generally do not speak of human love, even in marriage, in a way that comes close to Spenser's poem. However, when they deal with spiritual love, the love the soul is to have for God, they describe it in terms which sound very like those of passionate romantic love. The final chapter brings the insights of the preceding essay to bear on the closing cantos and Amoret's distress. Seen against this background, while she may appear helpless, her mind, like Florimell's, is constant and firm; she remains chaste. Indeed, she prefers imprisonment and even death, to surrendering to her captor. Like both Belphoebe and Britomart, what underlies her behaviour is her prior love for her beloved, which is the basis of her chastity, just as the Reformation writers understand it. The perspective on Spenser's poem provided by this Reformation material gives rise to new insights into the text

There is no abstract available for this dissertation.

This study details the role of genre enhancement and genre upgrading in four parodies by Thomas Morley. These four parodies, first published in Morley's The First Book of Balletts to Five Voices (1595), are based on villanelles from Luca Marenzio's collection I cinque libri di Canzonette, Villanelle et arie alla Napolitana a tre voci (1584-1585). Through the application of specific techniques, Morley transformed Marenzio's villanelles into parodies that, according to Morley's treatise A Plain and Easy Introduction to Practical Music, are higher in the genre hierarchy than their respective models. Comparative analyses will reveal the techniques of genre enhancement and genre upgrading at work in Morley's parodies.

Thesis (M.A.)--University of Hong Kong, 1981. / Also available in print.

With the arrival of the Spaniards in the New World, the way of living of the indigenous population who habited Mesoamerica was blended with the traditions and customs of the European settlers who arrived as conquerors, and the emigrants from Europe that arrivedlater searching for fortune or a better kind of life from the one they had left behind in their land of origin. This encounter of cultures gave rise also to a technical and cultural exchange, and in the case of Mexico, this clash of cultures and techniques is well represented by the printing press, which was established in 1539 with the specific aim of accelerating the evangelisation and education of the Indians. As a consequence of this development, Mexico was turned into a centre of innovation, with the first printing press using movable metal type to be set up outside Europe, and other trades that support printing, such as bookbinding, were also developed. This thesis investigates the influence of the Spanish and other European bookbinding practices on sixteenth-century Mexican limp, laced-case parchment bindings by the analysis of the features of the bindings of Mexican printed books from that period. In addition, by the analysis of the materials and techniques used to bind these books, as well as the specific structural characteristics of the bindings, the patterns of work that could be described as typically Mexican in the sixteenth-century, are also identified. The research is divided into two parts: the first, theoretical, explains the historical context of Mexico during the sixteenth century when the printing press and bookbinding were developed. The second part concerns the archaeological study of the books as artefacts. For this purpose, thirty-nine sixteenth-century Mexican printed books bound in limp, laced caseparchment covers were analysed. The analysis of the features of these bindings, which form the majority of the whole sample, made possible the identification of Mexican patterns of work in the sixteenth century. Given the lack of information and of complete studies of the craft of bookbinding in Mexico in the sixteenth century, this thesis aims to enhance our current knowledge of the historyof bookbinding as well as of the booktrade and the market for books in Mexico.