No description available.

This thesis addresses some of the extant gaps in law and literature criticism using an historical cultural criticism of law and literature that focuses on the Jacobean female legal subject in cases of divorce and adultery. It examines the intellectual milieu that constructs law and literature in this period to contribute to research on female subject formation, and looks specifically at how literature and law work to construct identity. This thesis asks what views Jacobean literature presents of the female legal subject, and what do those views reveal about identity and gender construction? Chapter one offers some essential historical contexts. It establishes the jurisprudential conditions of the period, defines the ideal female legal subject, touches on recent historical scholarship regarding women and law, explores how literature reveals law's artificiality, and links the Inns of Court to the theatres. Chapter two focuses on women and divorce. The first sections discuss the theology and ideology which impacted on divorce law. The latter sections examine Elizabeth Cary's Tragedy of Mariam, ca. 1609, and two manuscript accounts of Frances Howard's 1613 divorce trial, William Terracae's poem, A Plenarie Satisfaction, ca. 1613, and The True Tragi-Comedie Formarly Acted at Court, a play by Francis Osborne, 1635. These texts reveal the legal construction and frustrations of married women, and illustrate a gendered divide in attitudes towards women's legal position. Chapter three examines women and adultery law. It then juxtaposes representations of women justly accused of adultery, like the real-life Alice Clarke, and the fictional Isabella in John Marston's The Insatiate Countess, 1613, and unjustly accused, like the virtuous wives in Marston's play. This chapter reveals how male anxiety creates the stereotypes that constrain the female legal subject within systems of patrilineal inheritance. As a whole, this thesis uses literature to explore the Jacobean female legal subject's relationship to her husband and to the law, and, in some cases, it challenges the assumption that women were effectively constrained by legal dictates which would keep them chaste, silent and submissive. Literature, in some cases, works alongside law to sustain constructed identities, but radical literature can undermine law by challenging the stereotypes and identities law works to maintain.

In seventeenth-century France a new type of theatre was established to correspond to the ideals and taste of the dominant social group. As part of the process a particular ideal was forged for the new-style actor. Moulded by classical writings on acting and actors which suggested that the; style of serious, cultured acting operated within the same aesthetic as that of oratorical delivery, this ideal similarly identified refined acting with principles of pronuntiatio and the bienséance acceptable in contemporary formal discourse As a result of this identification no separate art of acting was considered necessary in seventeenth-century France, the rules and principles of expression of emotion in oratorical delivery being accepted as valid for serious acting. It is to these rules and. principles therefore that recourse must be made if the style of seventeenth-century acting and the approach of the actor at this period are to be appreciated. Study of seventeenth-century French treatises on oratorical delivery indicates the extent to which expression of emotion was considered to require study and practise of basic principal which would enable the speaker to evoke a particular passion by appropriately moving tones and accompanying gesture, and yet at the same time remain within a socially-acceptable range. Interpretation of seventeenth-century writings Oil actors and acting in light of these principles highlights the declamatory nature of serious acting of this period. The actor was understood to approach his role with a view to representing and thus exciting passions through effective vocal variation and suitably decorous accompanying gesture (body-language). Attention was focused upon the actor's voice, upon his moving tones and cadences, and upon the grace with which he used his body to reinforce such emotional portrayal. During the eighteenth century this conception-of acting and the style it had produced were called into question. Acting began to evolve its own aesthetic, an aesthetic based upon impersonation of character through personal identification and experience of the effects of emotion in real life. Study of rules to regulate emotional expression and imitation of the best models were abandoned in favour of cultivation of artistic sensibility: recourse to the imagination and personal sensitivity. In the process emphasis shifted from the voice to non-linguistic ways of showing feeling on the stage, and gestural expression released itself from subjection to social bienséance and enriched its range and potential. Evidence of these trends as well as fidelity to or reaction against principles of bienséance may be traced in writings on acting and delivery of the first half of the eighteenth century. At the beginning of the century acting theory was still rooted in and patterned on the model of pronuntiatio. By 1750 it had established its worth as an independent art with principles more directly based upon the dramatic experience.

No description available.

Divided into three parts, this thesis maps a cultural history of Barbary captivity; concentrating on the early 17th century leading up to the Civil Wars; an aspect of British-Muslim contact within which the West Country is overrepresented in the archives. However, this wealth of material contrasts sharply with the paucity of popular and public-facing representations. Situating these accounts within wider contexts, this thesis investigates this contrast, exploring the social, cultural, emotional and economic impact of Barbary captivity upon understandings of place and identity. The first part examines representations of being taken captive, the terror and distress of West Country inhabitants, and the responses and concerns of the authorities. The on-going failure to protect the region and its seafarers exacerbated this distress, producing marginalised geographies of fear and anxiety. The second part explores the themes of memory and identity, arguing that how captives were remembered and forgotten had implications for localised and national identities. For those held in Barbary, families and communities petitioned and undertook ransom collections to redeem the captives, providing reminders to the authorities and appealing for wider remembrance as part of the processes of Christian compassion. Nevertheless, the majority of captives were ‘forgotten’, neither ransomed nor leaving their individual mark within the historical record. This part concludes with a discussion of the role of memory in managing and articulating the ‘trauma’ of captivity. The final part examines mobile and fluid identities, concentrating on returning captives and Islamic converts. Early modern theories of identity situated the humoral body of the captive as susceptible to ‘turning Turk’, contributing to wider negotiations of national, ethnic and religious identities. Cultural anxieties were preoccupied with the ill-defined borders of the geographically displaced material body, generating mutable, hidden and shameful identities. In conclusion, sites of cultural trauma are produced, indicated by the subsequent silence regarding this aspect of localised history.

The presented diploma thesis deals with the theme of everydayness of imperial diplomats working in Poland in the second half of the 17th century. The basic source for the research is the preserved personal correspondence of six diplomats from the period concerned. The author of the thesis also takes note of prints, leaflets and prescriptive manuals for diplomats of the era. One of the main objectives of the work is to clarify how the imperial envoys perceived the parliamentary tradition and practice of Polish-Lithuanian state and also how they were personally involved in the affairs of the Seim and royal court. An essential part of the work is the analysis of a diplomat´s audience with the Seim, fractionalism of the Seim and the envoy´s interaction with the sovereign during both official and unofficial events. Other important part of the thesis is an interpretation of the symbolic meaning of festivities which the imperials diplomats at the Polish court took part in e.g. weddings, funerals, elections and coronations. The work also focuses on the private component of the diplomat´s mission and its most important institution of "patronage and good friendship", owing to which many locked doors could have been entered and which enabled diplomats having the security of the financial support of their mother country. Informal activities of diplomats comprised also travelling within legation and different related dangers. The author also deals with the health condition of diplomats and the ways their health problems influenced their daily routines during a diplomatic mission. Last but not least part of the work treats the Habsburg diplomat´s perception of Polish, Russian and Tatar people and the communication network of imperial envoys.

O propósito desta dissertação é estudar as representações femininas nas letras luso-brasileiras do século XVII, sempre levando em conta os pressupostos teóricos formulados pela crítica brasileira atual. Pretende-se examinar as práticas letradas seiscentistas pelo prisma dos critérios retórico-poéticos vigentes na época, em que se destacam a importância dos elementos visuais. O estudo tem como base o contraponto das figuras de Eva e Maria, formando o grande paradigma da dualidade feminina nas letras coloniais; tal construção da imagem da mulher como tentadora e salvadora foi um longo processo desde as letras dos tempos antigos, se intensificando no período medieval até chegar no século XVII. Desse modo, focalizamos as poesias de Gregório de Matos e alguns sermões do padre Antonio Vieira, dialogando com questões históricas, sociais e artísticas no momento de produção das obras para tentar reduzir os riscos de anacronismo, sempre presentes quando abordamos períodos tão distanciados no tempo. Analisamos variadas configurações femininas nas poesias líricas e satíricas de Gregório de Matos; já nos sermões de Vieira, percebemos que o contraponto entre as concepções mariana e eviana fica mais evidente. Mostramos como as figuras femininas examinadas se aproximavam de Eva ou de Maria, levando em conta o contexto sócio-econômico das mesmas. Notamos que o modelo ideal de mulher encarnando na figura de Maria, difundido pela Igreja com o objetivo de alcançar todas as mulheres, não correspondia à realidade das mesmas no sistema colonial e não se adequava as suas necessidades. Examinamos igualmente como tal construção feminina perfeita e submissa circulava nos manuais de boa conduta em que a família patriarcal se encaixava, atendendo às exigências dos modelos propagados pela Igreja Católica na época. Apesar de todos os esforços da Igreja Católica e do homem para domesticar a mulher, tão temida e admirada pelos mesmos, muitas mulheres fugiram aos padrões sociais e foram estigmatizadas, rotuladas, discriminadas, mas acima de tudo foram mulheres que ficaram registradas nas páginas da Inquisição, na história e principalmente, nas letras luso-brasileiras do século XVII, escritas por homens, como o poeta Gregório de Matos e o padre Antonio Vieira / The purpose of this dissertation is to study the female representations in Luso-Languages of the 17th century, always taking into account the theoretical assumptions formulated by current Brazilian criticism. It is intended to examine the seventeenth century literate practices through the prism of rhetorical-poetic criteria in force at that time, in which we highlight the importance of Visual elements. Such study is based on the counterpoint of the figures of Eve and Mary, forming the great female duality paradigm in colonial languages.This construction of women image as tempting and Savior was a long process since the ancient time languages , being intensified from the medieval period until the 17th century. Thus, we focus on Gregório de Matos poetry and some Father Antonio Vieira sermons dialoguing with historical, social and artistic issues at the time of production of the works to try to reduce the risks of anachronism, always present when we talk about periods so distanced in time. We analyze various female configurations in lyrical and satirical poetry of Gregório de Matos. In Vieira sermons ,we realize that the counterpoint between mariana and eviana conceptions becomes more evident. We show how the female figures examined approached to Eva or Mary, taking into account their socio-economic context .We realize that the ideal model of woman embodying in the figure of Mary and diffused by the Church with the goal of reaching all women did not correspond to their reality in the colonial system and didnt fit their needs. We also examine how such female construction ,both submissive and perfect, circulated in the manuals of good behaviour ,in which the patriarchal family fit, meeting the requirements of the models propagated by the Catholic Church at that time. Despite all the efforts of the Catholic Church and men to domesticate women,considered so feared and admired by them,many women fled social standards and were stigmatised, labelled, broken down, but most of all, were women who were registered in the pages of the Inquisition, in history and especially in the 17TH century Luso-letters written by men, as the poet Gregório de Matos and the priest Antonio Vieira

Made available in DSpace on 2014-06-11T19:26:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-02-09Bitstream added on 2014-06-13T19:26:58Z : No. of bitstreams: 1 darcadia_lfc_me_assis.pdf: 621341 bytes, checksum: 8b58f0eb331ff852999d251dde6eab61 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esse trabalho visa ao exame da poesia contida no manuscrito 2998 da sala de reservados da Biblioteca Geral da Universidade de Coimbra, da autoria do português Antônio da Fonseca Soares (1631-1682). Conhecido principalmente por sua obra sacra, a qual assinava como Frei Antônio das Chagas, o seu legado vulgar constitui, igualmente, importante acervo para os estudos da poesia de expressão lusófona. Assim, elegemos esse veio menos conhecido para propor a ampliação dos estudos acerca da produção literáriada época, assim como para rever modelos e métodos de estudo que podem vir a incluir seu nome no cânone dos estudo literários dos seiscentos. O aspecto cantral desse nosso estudo é a descrição. Elementos que permeia grande parte dos 104 romances desse corpus, no sentido de procurar compreender a prática descritiva do autor e, ainda, a medida do possível, demonstrar elementos básicos que explicitaram as diretrizes que um autor do século XVII tinha em mãos para a construção de poemas descritivos em geral. Para tal recorremos a discussões em torno das disciplinas de Retórica e Poética, desde a herança clássica, no princípio ut pictura poesis, com Aristóteles, Horácio, Cícero e Quintiliano, passando pelo tratamento dado à descrição passando pelo tratamentos dado à descrição na retórica de preceptistas seiscentistas, notadamente Tesauro, Cesare Ripa e Antonio Sebastião de Santo Antônio, até a autores atuais que trataram do assunto, como João Adolfo Hansen, Francis Cairns e Maria do Socorro Fernandes Carvalho / This dissertation intends to exam the poetry of the manuscript 2998 of the reserved collection of the General Library of the University of Coimbra, attributed to the Portuguese author Antônio da Fonseca Soares (1631-1682). Primarily known for his religious work, writing as Frei Antônio das Chagas, his legacy as a worldly author is important for the comprehension of “vulgar” lusophone expression. The focus of the study is the descriptive procedure within the 104 romances of the corpus, in order to understand poetics of the author, as well as to demonstrate some of the guidelines of description available to seventeenth century authors in general, when that is possible. For that we examine some of the aspects surrounding the disciplines of Rhetorics and Poetics, starting at the classical heritage, in the ut pictura poesis principle, then going through the rhetorical work of seventeenth century authorities, ending in the theoretical approaches of modern scholars

ABSTRACT THE REFORMED AND CELIBATE PASTOR: RICHARD BAXTER’S ARGUMENT FOR CLERICAL CELIBACY Seth DeShields Osborne, Ph.D. The Southern Baptist Theological Seminary, 2018 Chair: Dr. David L. Puckett This dissertation explores Richard Baxter’s (1615-1691) argument for clerical celibacy. It argues that his teaching on clerical celibacy was a very controversial way of resolving tensions in English Protestant marriage doctrine. His argument was a product of a very stringent model of pastoral care developed in response to England’s ecclesiastical situation, was deeply influenced by his personal qualities and life experiences, and was rooted in his overarching ethical principles for Christian living. Baxter remained remarkably consistent, even when appearing to violate his convictions by marrying later in life. Chapter 1 details the importance of the study for scholarship, the state of research, and finally the methodology and sources to be used. Chapter 2 examines English Protestant attitudes toward marriage and celibacy in Elizabethan and Stuart England in order to demonstrate their struggle to reconcile the Bible’s praise of marriage in Genesis 1-2 with its teaching on celibacy’s expediency in 1 Corinthians 7. Chapter 3 analyzes Baxter’s theology of soul care in the church and the family; it argues that Baxter did not possess a negative attitude toward marriage and family life, but rather he realized that clerical marriage strained the ability of ministers to fully implement his burdensome pastoral model of soul care. Chapter 4 explores several internal and external factors in Baxter’s life that shaped “particularities” that would come to define him as a theologian and minister of the gospel. Chapter 5 studies Baxter’s practical divinity in order to show that his argument for clerical celibacy logically arose from themes repeated in his teaching on Christian ethics. The next two chapters explore Baxter’s seemingly contradictory marriage to Margaret Charlton. Chapter 6 argues that he did not violate his convictions, because the 1662 Act of Uniformity appeared to have closed off all opportunities for public ministry. Chapter 7 proposes a solution to the question of why Baxter continued to advocate for clerical celibacy, despite the great help Margaret was to him and his pastoral work during their marriage; it argues that even though Baxter received many blessings through Margaret, his experience of marriage also reconfirmed many of his arguments for why pastors should remain single. Chapter eight summarizes the conclusions of the study and its contribution to understanding both English Protestant Marriage doctrine as well as Richard Baxter as a pastor and theologian.

No description available.