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Heavenly influences : the cosmic and social order of New Spain at the turn of the seventeenth centuryPeterson, Heather Rose 01 August 2011 (has links)
This is the story of Spanish belonging in New Spain and the creation of New Spaniards. Tracing Spanish perceptions of place, the body, belonging, and Indian mortality, as well as constructions of “nativeness” and “Spanishness” from the conquest, this work does three things. First it examines the ideological constructs behind Spanish belonging, and the ideas that Spaniards brought with them about their bodies and their relationship to the environment. Second it follows the progression of these ideas through the first three generations of Spanish colonization, paying particular attention to the way that political rivalries, the exigencies of the crown, and Indian mortality affected discourse on belonging and identity. Finally, it captures a moment at the turn of the seventeenth century, when residents of New Spain began to re-imagine their belonging and their relationship to the land and its original inhabitants. / text
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Ireland's Celtic tradition: From the beginning to 1800Peck, Theodore Tuttle Ives, 1921- January 1989 (has links)
From the Celtic invasions of the fourth century, B.C., until its union with England in 1800, Ireland developed its own distinctive Celtic culture. Its Christian religion, language and literature, law, social structure and land system were of Celtic origin and different from neighboring England's. Almost twelve hundred years of independence allowed Ireland to establish its unique qualities and become recognized as a nation. Then came three hundred years of English occupation and desultory control followed by two hundred and fifty more years of English conquest, confiscation and disruptive colonization. Finally came almost one hundred years of English economic subjugation and suppressed Irish indignation until nationalist Ireland in revolt was made a part of frightened England in 1800. The years of independence produced a unique cultural tradition which English strength changed but could not extinguish. What remained in 1800, supported by an irrepressible demand for national independence, was Ireland's Celtic tradition.
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The guitar anthology of Henry Francois de Gallot (1661): A preliminary studyCorcoran, Kathleen Anne, 1959- January 1988 (has links)
The manuscript entitled "Pieces de Guitarre de differende Autheure recuellis par Henry Francois de Gallot" (GB:Ob Ms. Mus. Sch. C94) is one of the largest single collections of music for the Baroque guitar. The source contains over 600 pieces by various composers, including Gallot and Corbetta. An overview of the physical characteristics, organization, and stylistic features of this important source is intended to provide a basis for further study and concordance search.
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The ecclesiastical policy of James I : two aspects : the Puritans (1603-1605), the Arminians (1611-1625)Shriver, Frederick H. January 1967 (has links)
No description available.
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Dissent and identity in seventeenth-century New EnglandCarrington, Charlotte Victoria January 2011 (has links)
No description available.
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The code of honor in seventeenth century Spain as seen in the plays of Guillén de CastroWuerschmidt, Elaine, 1925- January 1948 (has links)
No description available.
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Instrumental table music in the Baroque periodBercuvitz, Judith Singer January 1975 (has links)
No description available.
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Politics of Irish reform under Oliver St. John, 1616-22Rutledge, Vera L. January 1976 (has links)
No description available.
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Market integration : France's grain markets of the sixteenth and seventeenth centuriesSaint-Amour, Pascal January 1989 (has links)
No description available.
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Guilty pleasures : the uses of farcical prints for children in early modern AmsterdamVanhaelen, Engeline Christine 11 1900 (has links)
This thesis examines the remarkable range of farcical prints that were marketed for 1
children in late seventeenth-century Amsterdam. Evoking controversial theatre plays, these
prints picture slap-stick, sexually nuanced comic scenarios that do not seem in keeping with
contemporary' convictions that the up-bringing of children was a key means to secure the future
of the state. Yet there is evidence to indicate that this printed imagery did play a role in the
education of middle-class children. Such contradictions open up significant questions about the
reshaping of middle-class identity at a crucial moment in the emergence of the capitalist state.
Indeed, the problem that this study investigates emerges from late seventeenth-century
debates about the didactic function of comic prints and plays. Defenders of these forms argued
that they effectively inculcated social norms-particularly mercantile ethics, gender roles, and
class distinctions—in young viewers. Those who attacked the social role of this material, on the
other hand, stated that it provided viewing pleasures that actually subverted these pedagogical
intentions.
Through an analysis of the prints themselves, I examine the ways in which the visual
pleasures of these forms lured viewers in order to trap them within moral meanings. While this
may have been their intended function, however, I also found much evidence that the
enjoyment of farcical forms could, and did, overflow didactic restraints.
It was this subversive potential that made comic forms particularly threatening to civic
and church leaders of the day. In fact, a number of children's prints were linked to a series of
farces that were banned from Amsterdam's theatre in the 1670's. With this, children's prints can
be situated in historically specific contests about the control of urban spaces and populations.
Throughout this thesis, the function of children's prints is not discussed solely in terms
of either discipline or subversion, however. Rather, I argue that it is precisely the unresolved
tension between comic pleasure and didactic instruction that characterizes these prints and their
uses.
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