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Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.

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This thesis is a cultural history of the publishing businesses that financed Shakespeare's First Folio. The thesis argues that by 1623 each of the four businesses that formed the Folio syndicate had developed an influential reputation in the book trade, and that these reputations were crucial to the cultural positioning of the Folio on publication. Taking its lead from a dynamic new field of study that has been called 'cultural bibliography', the thesis investigates the histories and publishing strategies of the business owned by the stationers William and Isaac Jaggard, who are usually thought of as the leading members of the Folio project, as well as those owned by William Aspley, John Smethwick, and Edward Blount. Through detailed analysis of the publishing strategies of each stationer, the thesis puts forward new theories about how these men influenced the reception of the Folio by transferring onto it their brands, and the expectations of their readerships. The business of each Folio stationer was like a stage with an audience assembled around it, waiting for the next production to emerge. This thesis identifies the publishing activities that attracted the audiences of the Jaggards, Blount, Smethwick, and Aspley, and ultimately suggests the Folio was granted significant legitimacy through the collaboration of these men. After an introductory chapter that locates the thesis in its scholarly field, the first chapter tells the history of syndicated book publishing in England, and reviews what we know of the pre-production process of the First Folio, taking a particular interest in how the publishing syndicate formed. The following chapters then form a series of case studies of the four publishing businesses, reviewing the apprenticeships and careers of each stationer before suggesting how those careers created a context of meaning for the Folio. These case studies focus on the authoritative reference publishing of the Jaggards, the religious publishing of William Aspley, the geographical location of John Smethwick's publishing business beside the Inns of Court, and the cultural achievements of Edward Blount. In conclusion the thesis explores the idea that it was the unique partnership of these businesses that consecrated the Folio as an emblem of literary taste.

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This thesis is an examination of Lancelot Andrewes' (1555-1626) Eucharistic theology which is explored in order to see how far he might act as a catalyst for ecumenism with Rome on the topic of Eucharistic sacrifice. The purpose of the thesis is to develop a fuller exposition of Andrewes' Eucharistic theology as a unique theologian who maintained a view of sacrifice that was denied by Protestants on the continent of Europe and by most within the English Church of his day. In the first four chapters Andrewes' own views are not always juxtaposed to more contemporary views. This is intentional in order to develop his own thought before looking at him as an ecumenical partner on sacrifice. The first chapter explores Andrewes as a theologian within his own context of ecclesiology, placing Andrewes within a more Catholic framework as opposed to Puritanism that was becoming politically influential during the reign of King James I. The second chapter then looks at Andrewes' view of Eucharistic instrumentality where I characterise him as an ‘effectual instrumentalist' over against some contemporary scholars who place him alongside John Calvin who is sometimes described as a ‘symbolic instrumentalist'. I find Andrewes closer to a Catholic framework of instrumentalism. The third chapter further explores Andrewes' view of presence where I conclude that he should be characterised as one holding to an objective view of presence and give him the Cappodocian label as a Transelementationist. This is to emphasise that Andrewes did encourage the faithful to look for Christ in the elements themselves, which goes beyond Christ's presence within the faith of the believer alone. The fourth chapter is the lengthiest chapter as it develops Andrewes' views of sacrifice. I see him as someone immersed in the sacrificial nature of the Eucharist defined within the writings of the Fathers of the first five centuries. It was here that Andrewes is able to be set fully within the framework of a Catholic view of the mystery as the Christian sacrifice offered to God in return for the gift of the Christ-event to the world. Andrewes' description of the offering as containing a propitiatory effect in the application of the forgiveness of sins through ‘instrumental touching' was a unique understanding of someone in the Church of England during the sixteenth and early seventeenth centuries. In the final chapter, I juxtapose Andrewes with Catholic teaching as it is explored in contemporary Catholic theology as well as, perhaps more importantly, within papal documents and authoritative Catholic statements on the sacrifice of the Mass. This is to show how similar Andrewes is in his description of the sacrifice of the Eucharist to Rome and how he goes further in that direction than any of his contemporaries or even modern ecumenical statements in Anglican and Roman Catholic dialogue.

The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.

The anonymous French seventeenth-century play le Docteur Amoureux (1691) was written for theThéâtre Italien, the Italian troupe acting in Paris. It incorporated the techniques of both Old French farce and the commedia dell'arte into mainstream comic modes, in the manner of Moliáere but with some amusing twists. Le Docteur Amoureux remains a significant part of the French comic canon and the historical corpus of drama, yet it has never been translated into English. With prefatory commentary on the text and the period, the genres of stage performance, and the challenges involved in translating historical texts, this first translation of le Docteur Amoureux is intended to serve contemporary theater research into this rich and prolific period in the history of the French theater under Louis XIV. / by Elsa Cantor. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.