A thesis submitted to the Faculty of Architecture, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy Johannesburg, 1996 / This thesis is set within the historical context of the commercial empire of the VOC (Dutch East India Company), which established a refreshment post for its ships at the Cape of Good Hope, South Africa, in 1652. The central proposition of the thesis is that the architectural principles established at the Cape between 1652 and 1710 had a greater influence on subsequent developments than has previously been acknowledged. This proposition challenges the widely accepted theory that Cape Dutch architecture developed as an evolution from vernacular beginnings. Re.search in the field to date has focused largely on Cape Dutch buildings, dating from after the mid-18th century, and on later survivals of vernacular types. As a result the buildings erected prior to 1710, defined here as proto-Cape Dutch, have been largely ignored. To redress this imbalance, the thesis investigates the proto-Cape Dutch period in its own right, by presenting the widest possible range of building types erected during this period. Since few of these buildings survive, the evidence for the thesis was derived largely from archival material. This comprised three types of contemporary sources: the official records of the VOC, the written accounts of visitors to the Cape, and the drawings of visiting artists. Some sources were clearly unreliable, but in several cases it was possible to reconcile evidence which initially appeared to be contradictory. The interpretation and evaluation of this research is addressed in Part 1 of the thesis. The architectural evidence is presented in Part 2, where the process of analysis and reconciliation is revealed. This process facilitated the detailed reconstruction of some of the more prominent buildings of the proto-Cape Dutch period no longer in existence. The thesis contends that such buildings, with sophisticated plans and Renaissance proportions, were the stimulus for the development of Cape Dutch architecture later in the 18th century. The thesis thus comprises three major components: the development of a research method; the re-evaluation through this method of a number of buildings known primarily from documentary sources; and the proposition based on this re-evaluation that Cape Dutch architecture was a simplification of the precedent established by the more sophisticated buildings of the proto-Cape Dutch period. The method employed and the conclusions drawn from the evidence may suggest applications in similar colonial circumstances elsewhere. LIST OF KEY WORDS Cape Dutch architecture - Civil engineering works - Dutch colonial architecture - Fortifications - Hospitals - Non-residential buildings - Proto-Cape Dutch architecture - Religious buildings - Residential buildings - Town planning / WS2017

O império português, formado por conquistas espalhadas pelas mais diversas regiões do globo terrestre, teve o pluralismo administrativo, a promoção de ajustes e a capacidade inventiva como soluções de governabilidade e importantes sustentáculos da dominação. Estendendo-se por terras além-mares, dependeu de mecanismos de mando capazes de conviver com os poderes locais e com as dificuldades impostas pela distância e por diferentes conjunturas. O período entre a Restauração de Portugal, em 1640, e a Abertura dos Portos do Brasil para as nações estrangeiras, em 1808, caracterizou-se por longo movimento de planos e práticas para promover e melhorar a exploração econômica lusitana no ultramar. O trabalho ora apresentado tem o Atlântico como espaço destacado e visa estudar as ações propostas e efetivadas pela Coroa portuguesa para manter, reordenar e ampliar o seu império, consolidadas na lógica de um sistema mercantil imperial; composto pelo centro e pelas distintas partes à volta dele, visando garantir o comércio ultramarino e os subsequentes ganhos da e na metrópole, e cuja gestão teve como principal característica a adaptabilidade. / The Portuguese Empire, formed by conquests spread over most regions of the globe, had the administrative pluralism, promotion of adjustments and inventiveness as solutions to governance and important pivot of domination. Extending for lands beyond the seas, it depended on mechanisms of command able to deal with local authorities and with the difficulties imposed by distance and different conjunctures. The period between Portugals Restoration in 1640, and the opening of Brazilian Ports to foreign friendly nations, in 1808, was characterized by intense planning movement and practices to promote and improve the economic Lusitanian exploitation overseas. This work has the Atlantic as main scenario and aims to study the actions proposed and effected by the Portuguese Crown to maintain, rearrange and expand the Empire, consolidated in the logic of an imperial mercantile system, composed of the center and the many different parts around it, aiming to ensure the overseas trade and subsequent gains for the metropolis and also inside it, and whose management had as main characteristic adaptability.

Medicine was an important aspect of ancient Greek philosophy, which also associated sanity with reason. The Platonic and Aristotelian threads initiated then were intertwined in the Middle Ages. Medieval Scholasticism equated insanity with the gift of prophecy and melancholy with heroism. As the seventeenth century opened new horizons in science, characters suffering from mental illness and despair were frequently depicted in Restoration semi-opera and song. The term "mad song" refers to a solo song with continuo accompaniment in which the singer impersonates an individual who is genuinely mad or feigning madness. Songs of despair typically share some characteristics of the earlier lute-song tradition and display a fast harmonic rhythm. Healing songs induce a state of hypnosis during which the mad individual no longer suffers. I attempt to show how seventeenth-century English continuo song reflects the evolution from neo-Platonic philosophy to scientific thinking both thematically and structurally. Early songs of melancholy reflect the notion that the individual afflicted by love-sickness may be regarded as a martyr. Any conscious scheme in form or text underlay is absent, and specific word-painting is minimal. Large-scale text-painting plays a more significant role. In the Purcellian mad song the scene changes radically. Iatromechanical scientific thinking, based on a Cartesian causality that evokes Aristotelian neo-Scholasticism, seems evident in the precision of the word-painting. Composers connect words and figures of speech to specific harmonic structures in the bass. Causality is also apparent in that the loosely defined melancholy of earlier songs is now largely replaced by a realistic depiction of insanity. Scientific progress was reserved for scholars working within university enclaves, but theatergoers could experience a reflection thereof reproduced on stage. Although the theme of madness was essential in seventeenth-century plays, there is a gap in the academic literature with regard to the depiction of mental disease in English vocal music. One must view music and words as cotexts bound to serve Baroque rhetorical purposes. Detailed analysis of these songs throw new light on the medical, cultural and social factors which shaped aesthetics in seventeenth-century England.

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This thesis explores the relationship between performance and consumption in relation to play collection in the 1630s, and also examines the wider contexts of performance and consumption in that decade. It proposes that the 1630s were a decade characterised by particularly self-conscious performances of consumption, and that this environment contributed directly to the beginnings of the collection of books for display purposes. A focus on the Petworth collection and its original collector is maintained throughout the thesis, which weaves together the material and literary content of the collection. Using material evidence from the volumes themselves, this thesis demonstrates that the collection was purchased in 1638 by the 10th Earl of Northumberland through an agent who assembled the collection specifically for the Earl just prior to his purchase of it. It also demonstrates, again using evidence from the volumes themselves, that the purchase was partly informed by principles of education, personal taste and a consideration for family history, but that the overwhelming motive was the drive to consume and to perform that consumption. Using the literary content of the collection to explore representations of performed consumption, this thesis tracks the development of the conceptualisation of consumption on the stage from the wariness about dangerous consumption in the late Elizabethan period to the much more open, and yet still rather complex, attitudes of the 1630s. Finally, the thesis discusses some other kinds of public, performed consumption, including a procession by Northumberland and an entertainment with which he was connected, exploring the explicitly social elements of performance. The Petworth play collection is at once anomalous and typical as an example of mid-17th century book collection, and it can be used to illustrate and map the multitude of issues, concepts and attitudes which surround performance, consumption and collection in the 1630s, and beyond.

This thesis surveys the impact of the Gunpowder Plot upon the Jacobean stage 1605-16. While historians have long dismissed the Plot as a failed attack undertaken by a group of disenfranchised radicals, its influence on the cultural imagination of English dramatists has largely been overlooked. By surveying details of the Plot itself, and the non-dramatic texts circulating in its immediate aftermath, it becomes clear that non-dramatic Protestant authors responded to the Powder Treason with fear and panic, writing alarmist and inflammatory texts designed to demonise Catholics. These texts include ballads, sermons, and poetry. This circulating Protestant discourse developed specific linguistic Gunpowder paradigms and motifs, which subsequently began to appear on the London stage from 1606. With close readings of a number of plays produced during this period, this thesis demonstrates that playwrights incorporated specific Gunpowder tropes into drama, leading to the creation of a number of Gunpowder plays in the years 1606-16. Gunpowder plays include motifs of undermining, witchcraft, possession, demonic activity, equivocation, treason, and sedition. They also often include depictions of the two women from Revelation, known respectively as the Woman Clothed with the Sun, and the Whore of Babylon. In addition, this thesis reveals that subsequent political events, such as the murder of Henry IV of France in 1610 and the Overbury Scandal of 1613-16, reinforced fear of Catholic terrorism, and were thus incorporated into drama during this period, often conflated with the Powder Plot by playwrights, and circumnavigated via the Gunpowder motifs established in 1606. Moreover, one Gunpowder play, Macbeth, emerges as the definitive dramatic response to the Powder Treason. This thesis seeks to establish that the Gunpowder Plot had such a profound effect on the Jacobean cultural imagination that it provoked a watershed in English drama.

Orientador: Carlos Eduardo Mendes de Moraes / Banca: Ricardo Magalhães Bulhões / Banca: Odilon Helou Fleury Curado / Resumo: 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 / Abstract: 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 / Mestre

This thesis explores and describes key factors in the design process leading to production of The Three Musketeers by Catherine Bush. The document encompasses the justification and discussion of the choices made during the research, design, and production stages of developing the play for the stage, as well as impressions gained throughout the process to use in future design projects.

Abstract not available