В работе проводится сравнение текстов, сопровождающих обряд погребения, христианской и «народной» традиции в аспектах эмоционального восприятия смерти и образной реализации. Высокая степень экспликации эмоций в похоронных причитаниях, не столь ярко выявляемая в каноническом богослужении христианской словесности (панихида, лития), находит место в нарративных и гомилетических жанрах: проповедь, житие, учительное слово. В них появляется и более или менее очерченный образ смерти в эмотивном художественном пространстве. В диссертации дан многогранный анализ содержания и поэтики погребальной проповеди из наследия Симеона Полоцкого, Кирилла Транквиллиона-Ставровецкого и рукописного неопубликованного сборника «Статир». Приводятся полностью два текста проповедей сборника подготовленные к публикации в научном издании. / The paper compares the texts accompanying the funeral rites of Christian and "folk" tradition in the aspects of emotional perception of death and figurative realization. A high degree of emotional expression in the funeral lament, not so clearly revealed in the canonical worship of Christian literature (funeral service, litya), finds a place in the narrative and homiletic genres: sermon, hagiography, teaching word. A more or less delineated image of death in the emotional artistic space also appears in them. The thesis provides a multifaceted analysis of the content and poetics of funeral sermons from the heritage of Simeon Polotskij, Cyril Tranquillion-Stavrovetskij and the unpublished manuscript collection "Statir". We present in full two texts of the sermons of the collection prepared for publication in a scholarly edition.

Der übermäßige Dreiklang wurde in der abendländischen Musikgeschichte in den Jahrzehnten um 1600 auffallend häufig als expressiver Klang eingesetzt. Von der Satzlehre des alten Stils ausgeschlossen, wurde er allmählich in eine barocke Klangsprache integriert. Dieser Prozess verlief mit deutlichen gattungsspezifischen Unterschieden und (über-)regionalen Traditionslinien. Eine davon – das protestantische Geistliche Konzert – soll hier anhand der Vokalwerke Samuel Scheidts näher betrachtet werden. Dabei wird deutlich, wie der Klang semantisch aufgeladen, in die dur-moll-tonale Satztechnik eingebettet und sein enharmonisches Potenzial in ersten Ansätzen ausgelotet wurde. / In the history of Western music the augmented triad was frequently used as an expressive chord in the decades around 1600. While the strict counterpoint of the 16th century had excluded it, it increasingly came to be integrated into a baroque idiom, a process in which significant differences between genres and regional traditions can be observed. In this essay, one of them – the Protestant Geistliche Konzert – will be subjected to closer scrutiny, focusing on the vocal works of Samuel Scheidt. It can be shown how the chord gained semantic value, how it was incorporated into tonal counterpoint and how first steps of exploring its enharmonic potential were taken.

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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.

This thesis will contend that a permanent body of military force under royal command, a ‘standing army’, arose during the first three decades of the seventeenth century in France. Such a development constituted a transformation in the nature of the monarchy’s armed forces. It was achieved by encouraging elements of the French nobility to become long-term office-holders within royal military institutions. Those members of the nobility who joined the standing army were not coerced into doing so by the crown, but joined the new body of force because it provided them with a means of achieving one of the fundamental ambitions of the French nobility: social advancement for their family. The first four chapters of this thesis thus look at how the standing army emerged via the entrenchment of a system of permanent infantry regiments within France. They look at how certain families, particularly from the lower and middling nobility, attempted to monopolise offices within the regiments due to the social benefits they conferred. Some of the consequences that arose from the army becoming an institution in which ‘careers’ could be pursued, such as promotion and venality, will be examined, as will how elements of the the nobility were vital to the expansion of the standing army beyond its initial core of units. Chapters Five and Six will investigate how the emergence of this new type of force affected the most powerful noblemen of the realm, the grands. In particular, it will focus on those grands who held the prestigious supra-regimental military offices of Constable and Colonel General of the Infantry. The thesis concludes that the emergence of the standing army helped to alter considerably the relationship between the monarchy and the nobility by the end of the period in question. A more monarchy-centred army and state had begun to emerge in France by the late 1620s; a polity which might be dubbed the early ‘absolute monarchy’. However, such a state of affairs had only arisen due to the considerable concessions that the monarchy had made to the ambitions of certain elements of the nobility.

This thesis discusses the intersections of class and the lack of social mobility in three versions of Cinderella from the seventeenth century. The works covered are are Giambattista Basile's "La Gatta Cennerentola" ["The Cat Cinderella"] (c.1634), Charles Perrault's "La Petite Pantoufle de Verre" ["The Glass Slipper"] (1697), and Marie- Catherine D'Aulnoy's "Finette Cendrone" ["Clever Cinderella"] (1697). The seventeenth-century versions of Cinderella all reaffirm the existing class system. In each of these versions the message is that the ruling elite must maintain or regain to their status. We can see this by the ways in which the characters gain and lose status in their respective narratives. Ultimately, the early modern Cinderella story is one that supports a hereditary class system. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Throughout the seventeenth century, numerous Scots became convinced that the major political and religious upheavals of their age signified the fulfillment of, or further unfolding of, the vivid prophecies described in the Book of Revelation which foretell of the final consummation of all things. To date, however, an in-depth analysis of the evolution of Scottish apocalyptic belief during the seventeenth century has never been undertaken. This thesis utilizes a wide variety of source material to demonstrate the existence of a cohesive, persistent, and largely conservative tradition of apocalyptic thought in Scotland that spanned the years 1588 to 1688. Chapter One examines several influential commentaries on the Book of Revelation published by notable Scots during the decades either side of the Union of Crowns. These works reveal many of the principal characteristics that formed the basis of the Scottish apocalyptic tradition. The most important of these traits which became a consistent feature of the tradition was the rejection of millenarianism. In recent years, historians have exaggerated the influence of millenarian ideals in Scotland during the Covenanting movement which began in 1638. Chapter Two argues that Scottish Covenanters consistently denounced millenarianism as a dangerous, subversive doctrine that could lead to the religious radicalism espoused by sixteenth-century German Anabaptists. Chapter Three looks at political and religious factors which led to the general decline of apocalyptic expectancy in Scotland during the Interregnum. It also demonstrates how, despite this decline, Scottish apocalyptic thinkers continued to uphold the primary traits of the apocalyptic tradition which surfaced over the first half of the century. Lastly, Chapter Four explains how state-enforced religious persecution of Scottish Presbyterians during the Restoration period led to the radicalisation of the tradition and inspired the violent actions of Covenanter extremists who believed they had been chosen by God to act as instruments of his divine vengeance in the latter-days.

Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of San Pedro in Lerma. By comparing the repertory in the manuscript with sixteenth- and seventeenth-century instructions to minstrels in Le6n and Palencia, it has been possible to establish typical ecclesiastical performance responsibilities of minstrels and deduce how such a collection of instrumental music would have been used. Furthermore, after study of the surviving inventories of San Pedro, it has been possible to reconstruct the entire polyphonic musical repertory of the church. This enables us to see the sort of musical library available to the typical succentor or chapelmaster of the time, and the place that minstrel repertory occupied. Finally, a significant number of the original Lerma manuscripts and prints have been traced into modern collections, allowing us to know much more about their origins and history than heretofore. / Plusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr

This thesis is an examination of Charles I of England’s projection of kingship through Sir Anthony van Dyck portraits during his personal rule. These portraits provide important insight into Charles’ vision of kingship because they were commissioned by the king and displayed at court, revealing that his kingship rested on complementary ideals of traditional kingship in addition to divine right. In this thesis, Charles’ van Dyck portraits are studied in the context of seventeenth-century ideals of paterfamilias, knight, and gentleman. These ideals provide important cultural narratives which were seen to be reflective of legitimacy, power, and masculinity, which in turn gave legitimacy to Charles’ kingship. The system of values and ideals represented in Charles’ portraits reveal that his vision of kingship was complex and nuanced, demonstrating that divine right was just one aspect of many, upon which his kingship was premised. / viii, 164 leaves : [18] leaves of color plates ; 29 cm

This thesis provides the first full-length account of the political and cultural significance of the accession of Queen Anne. It offers a critical reassessment of the politics of the royal image across a spectrum of texts, events, and artefacts - from panegyrics, newspapers, sermons, royal progresses, and processions to medals, coins, and playing cards. Recent scholarship has emphasized the importance of party politics to the literature and culture of the early eighteenth century. This thesis nuances that assumption by arguing: (1) that the principal focus of partisan texts was competing representations of monarchy; and (2) that the explosion of partisanship at the start of the eighteenth century was triggered by unrest about the royal succession. Anne was the last protestant Stuart. She had no surviving children. This thesis explores how authors such as Daniel Defoe, Joseph Addison, Alexander Pope, and a great many lesser known and anonymous writers and propagandists conceptualized the end of the Stuart dynasty. Anne's accession forced writers to conjecture on the future succession. There were two rival claimants to the throne after Anne's death: the protestant Electress Sophia of Hanover and Anne's Catholic half-brother, James Francis Edward. Sophia's claim was statutory, James's hereditary. Factions emerged in support of both claimants. Almost all topical writing took a stance on the issue. Many sided with the government, supporting Hanover. Yet some writers favoured the illegal but hereditary claim of James Francis Edward; they had to express support in covert ways. This succession crisis triggered not only printed polemic, but also swathes of clandestine manuscript literature circulating in the Jacobite underground. The government took a hard line on Jacobite writers and printers; this thesis documents both their persecution and the techniques they used to evade the law. The thesis concludes by suggesting that this oppositional literary culture only disintegrated after the defeat of the Jacobite rebellion, and the consequent settlement of the Hanoverian succession, in late 1716. After this point, royal succession ceased to be a major source of political discontent.