No description available.

Nuestra hipótesis de trabajo considera que las reformas borbónicas revitalizan tensiones y conflictos, en la ciudad y el campo e impactan diferencialmente en los distintos grupos sociales emplazados en el espacio colonial hispanoamericano, resultando de ello el caudillismo, entendido como la competencia –la más de las veces violenta–, entre grupos sociales. A partir de esta hipótesis de trabajo desarrollamos la investigación según la siguiente estructura. En el Capítulo 1 abordamos –luego de la justificación de nuestra investigación–, los conceptos y connotaciones de caudillo y caudillismo o caudillaje lo cual nos permitirá adecuar la discusión inicial, para luego dar cuenta sobre el origen y comprensión del caudillismo en el Perú desde tres perspectivas historiográficas: la económica, la política y la institucional. Por cierto, todas ellas circunscritas bajo los parámetros del Estado-nación y la Independencia. En el Capítulo 2, identificamos y describimos las tensiones y conflictos entre grupos sociales en el campo y la ciudad-puerto desde el periodo colonial tardío. En el Capítulo 3, describimos y analizamos los impactos de las reformas borbónicas (administrativas-fiscales y militares) diferencialmente interpretadas según los distintos grupos poblacionales. Y, finalmente, en las conclusiones discutimos y confrontamos nuestros hallazgos sobre el origen del caudillismo y proponemos una tipificación del fenómeno para una mejor comprensión sociológica de este. / Tesis

Nuestra hipótesis de trabajo considera que las reformas borbónicas revitalizan tensiones y conflictos, en la ciudad y el campo e impactan diferencialmente en los distintos grupos sociales emplazados en el espacio colonial hispanoamericano, resultando de ello el caudillismo, entendido como la competencia –la más de las veces violenta–, entre grupos sociales. A partir de esta hipótesis de trabajo desarrollamos la investigación según la siguiente estructura. En el Capítulo 1 abordamos –luego de la justificación de nuestra investigación–, los conceptos y connotaciones de caudillo y caudillismo o caudillaje lo cual nos permitirá adecuar la discusión inicial, para luego dar cuenta sobre el origen y comprensión del caudillismo en el Perú desde tres perspectivas historiográficas: la económica, la política y la institucional. Por cierto, todas ellas circunscritas bajo los parámetros del Estado-nación y la Independencia. En el Capítulo 2, identificamos y describimos las tensiones y conflictos entre grupos sociales en el campo y la ciudad-puerto desde el periodo colonial tardío. En el Capítulo 3, describimos y analizamos los impactos de las reformas borbónicas (administrativas-fiscales y militares) diferencialmente interpretadas según los distintos grupos poblacionales. Y, finalmente, en las conclusiones discutimos y confrontamos nuestros hallazgos sobre el origen del caudillismo y proponemos una tipificación del fenómeno para una mejor comprensión sociológica de este.

No description available.

No description available.

Between 1740 and 1770, a number of women writers choose to make explicit in their printed texts their collaboration with a ‘familiar’: a family member or close friend. In so doing, they strategically enact their personal relationships through the medium of print in order to claim for themselves a level of literary power and delineate the terms on which they entered the marketplace as authors. This thesis argues that familiar relations expressed along a horizontal axis – those of husband, wife, brother, sister and friend – offer a relatively flexible model of familiar relations in which women could acquire a level of agency in self-definition, supported by ideologies that valued women’s contribution to the polite sphere of sociable conversation. It demonstrates that Elizabeth Griffith, Sarah Fielding, Jane Collier, and Susannah and Margaret Minifie not only engage in collaborative literary production that is thoroughly inflected with the pressures of their historical context but that through familiar collaboration women writers display their professional authorial personae and generate social and literary criticism. Through close readings of carefully selected collaborative texts in the corpus of each writer, including the material history of the texts themselves, and the relationships expressed through those texts, this thesis highlights the complexity with which family relations interacted with print culture in the period. Far from using the familiar relation as a means of modestly retiring to the domestic sphere these women writers used their familiar relations as a basis from which to launch, describe and defend their authorial careers.

The writings of John Aubrey (1626-1697) cover a variety of subjects, including natural philosophy, mathematics, educational theory, biography, and magic, among others. His principal scholarly interest, however, was antiquarianism, the early modern discipline which embraced subjects such as archaeology, anthropology, and palaeography. This thesis is a study of Aubrey’s antiquarian writings within the context of the European Republic of Letters. It begins with a revisionary survey of antiquarianism in England, 1660-1720, and proceeds to map his personal contacts and library before studying each of his major antiquarian works in detail. Aubrey emerges from this as a product of his time, but somewhat unusual in his eclectic use of the antiquarian tradition and his blending of antiquarian and natural philosophical methodologies. He was receptive to the latest scholarship, regardless of its origin, and his antiquarian writings were never mere antiquarianism, but moved beyond technical scholarship to address wider issues concerning the origins of English culture, the evolution of religion, the antiquity of the earth, and the nature of human invention. Aubrey is now best known for his so-called Brief Lives, a series of biographies of contemporaries, and this thesis also includes a chapter studying the Lives as a form of antiquarianism. It argues that their keen observation and unconventional form are due to a mixture of antiquarian minuteness with traditions of Theophrastan character-writing and Tacitean historiography and that previous readings of them rely too heavily upon an outdated view of Aubrey as eccentric and peripheral to the larger intellectual movements of the century. This thesis concludes with a reassessment of Aubrey’s scholarship and an argument that the patterns revealed highlight the insufficiency of current theories of antiquarian development in the early modern period. It also argues for the “literary” quality of Aubrey’s work and emphasises the importance of reading his antiquarian texts within the context of early modern definitions of literature.

This thesis is a cultural history of the textual afterlives and poetic appropriations of John Donne's verse. I use print and manuscript miscellanies, hitherto unstudied commonplace books, letters, diaries and seventeenth and eighteenth century criticism to ask, who was reading Donne and in what physical forms? By looking at allusive strategies and reading practices of the time, I demonstrate how many different Donnes can be identified when we strip away modern notions of what 'Donne' is and seek multiple afterlives. I nuance the idea of Donne as a determinedly coterie poet, suggesting his print presence might have looked to his early audience like a strategic writer who had not, despite Izaak Walton's narrative, closed off the possibility of public authorship. I find there was a period of radical re-appropriation and re-reading of Donne in the seventeenth and eighteenth century: Donne was as a guiding influence to canonical poets. Rochester is perhaps the poet whose voice most vividly recalls Donne's swaggering persona and intricately-constructed rendering of apparent spontaneity. Katherine Philips's verse makes sophisticated use of Donne's voice in her intimate quasi-erotic verse; I contrast this with the voice of her poems written for state occasions to show how Donne becomes a resource for self-revelation. Dryden offers a sustained critical vision of Donne: although, as the primary mercenary proponent of mass popular literature, he may seem initially wholly unDonnean, I show how his verse both explicitly and obliquely negotiates with Donne's wit and form. I end by looking at the problematic offered by the negotiates with Donne's wit and form. I end by looking at the problematic offered by the dual critique and celebration in Pope's versification of Donne's Satyres, and at the Dunciad, to see where the limits of allusion come up against Pope's cacophonous multiplicity of voices. These four poets take different threads from Donne's canon to different ends and, in so doing, create different Donnes.

"The Devil in the Detail" explores the rationality of magical belief on the early modern English stage. I examine how demons and demonic magic were depicted in the theatre, arguing that playwrights ascribed a sense of realism to the devil’s methods. In explaining the devil's modus operandi and exposing the limitations of his magic, the stage validates supernatural belief and depicts the devil’s craft as plausible. More broadly, this thesis is situated within the ongoing debate over the relationship between magic and scientific thought in early modern Europe, confirming that demonology was not an irrational superstition but a valid pre-science. Set against a background of witch persecution and the widespread belief that demons were a material reality, the devil was both the subject of prevalent intellectual inquiry and a popular figure on the early modern English stage, featuring in at least fifty-two plays between 1509 and 1638. Underpinning this particular brand of entertainment is a cohesive and consistent ontological framework that dictated the extent to which the devil could - and could not - operate in the material world, entirely in keeping with the dominant demonological thought of the time. "The Devil in the Detail" focuses on seven devil plays: Marlowe's Doctor Faustus (c.1590), Greene's Friar Bacon and Friar Bungay (c.1590), John of Bordeaux (c.1590), Jonson's The Devil is an Ass (1616), Dekker, Ford and Rowley's The Witch of Edmonton (1621), Brome and Heywood's The Late Lancashire Witches (1634) and Shakespeare's The Tempest (1611). In each chapter, I demonstrate how these texts both adhere to orthodox demonology and emphasise the devil’s humanlike qualities. The final chapter presents the case for demonism in The Tempest.

No description available.