This thesis set out to explore the changing nature of consumption patterns in seventeenth- and eighteenth-century London through the analysis of archaeological evidence previously excavated by the Museum of London Archaeology. The aim of this research was to address existing gaps and limitations within the existing methodology related to the excavation and analysis of these environments, to establish a more holistic method of approaching consumption practices from this period, and to explore the complexities which were being performed within the setting of these establishments. To do this, a typological system for artefact classification was developed which enabled the categorization of material by their fabric, form and their associated functions. The distribution patterns of the various types and functions across three sites and five establishments in the City of London were analyzed. The material was then assessed for patterns indicating changes in consumption. Linkages from these patterns are then made between historical themes and theoretical frameworks outlined within the thesis. Particular focus will be given to developing a better understanding of how these venues changed over time based on the degree of variation that can be perceived between the late seventeenth to the late eighteenth centuries. By exploring the character of consumption practices, I will demonstrate how they work together to provide a more complete picture of the complex systems at work. During the course of this research, specific objectives have been achieved and conclusions reached which make original contributions to the wider dialogues surrounding how meaningful patterns of consumption can be perceived and interpreted through material goods from establishments of social or public consumption. The focus on the everyday materials from closed deposits related to clearance episodes (Pearce 2000) from these establishments and their how they relate to emergent and shifting patterns of social trends in consumption is what separates this thesis from other scholarship on these and similar spaces. Significantly, this research differs from the previous examples by attempting to detect social change across a variety of classes and in a variety of different settings, all brought together in relatively modest atmospheres of social and public consumption. This has allowed for both the subtle and the overt shifts in social patterns to be detected, and from there, conclusions are drawn regarding wider social ideology.

This thesis addresses three aspects of the relationship between audience, playhouse and play in Restoration theatre from 1660 to 1710. It provides a comprehensive account of the composition of the Restoration audience, an examination of the effect this group of men and women had upon the plays they attended and an account of the ways in which the plays and playhouses of the Restoration touched the lives of London's inhabitants. In the first part of this dissertation I identify the audience. Chapter 1 deals with London's playhouses, their location, archictecture and decoration. It shows how the playhouses effectively created two sets of spectators: the visible and the invisible audience. Chapter 2 is a detailed examination of those audiences, and the social and occupational groupings to which they belonged. Chapter 3 deals with the support the stage received. It analyses attendance patterns, summarizes evidence of audience size, presents case studies of attendance patterns and outlines the incidence and effects of recurrent playgoing. In the second part of the dissertation I deal with theatricality, with the representation of human action on and off the stage. I examine the audience's behaviour in the playhouses and the other public places of London. I focus on the relationships between stage and street to show how values and attitudes were transmitted between those two realms. To do this, I analyse three components of theatrical behaviour--acting, costume, and stage dialogue and look at their effect on peoples' behaviour in and ideas about the social world. Chapter 4 is an introduction to late seventeenth century ideas of theatricality. Chapter 5 examines contemporary ideas of dress and fashion and of their relationship to stage costuming. Chapter 6 considers how contemporary ideas about conversation and criticism affected and were in turn affected by stage dialogue.

This thesis argues that much of the gender based criticism that has led to the "rediscovery" of neglected early modern women writers has, paradoxically, also served to limit our understanding of such writers by distracting attention from other aspects of their writing, such as their political commitments. The three authors considered, Jane Barker (1652-1732), Mary Caesar (1677-1741) and Anne Finch (1661-1720), have been selected precisely because Jacobitism is central to their writing. However, it will be argued that a focus upon gender politics in the texts of these writers has led to a failure to comprehend the party political boldness of their work. The thesis examines the writing of each author in turn and explores the implications of Barker's, Caesar's and Finch's Jacobite allegiances for their respective views of human history as played out in political affairs. It also considers the ways in which each author attempts to reconcile a cause that is supposedly supported by God with apparent political failure. The quest of Barker, Caesar and Finch to investigate these issues and to comprehend how Jacobitism forms part of their own authorial identities is central to what is meant here by "literary Jacobitism" in relation to these writers. The thesis demonstrates that Jacobitism is enabling for each of these three women as it enhances their ability to conceive of themselves as authors by allowing their sense of political identity to overcome their scruples about their position as women who write. However, it also illustrates that Jacobitism functions differently in the writing of each of the selected authors. It thus argues that an undifferentiated labelling of the work of these three women as "Jacobite" is as restrictive as their previous categorisation as "women writers".

No / This was to study an archaeological population of subadult teeth in 17th and 18th century skeletal material from a London (England) cemetery for enamel defects including molar-incisor-hypomineralisation (MIH).Methods: Dentitions of 45 sub-adults were examined using standard macroscopic methods and systematically recorded. A total of 557 teeth were examined with a *5 lens and photographed. Ages of the individuals were estimated from their dental crown and root development stages and not from charts that combine tooth eruption with development stages. The dental age of the individual and the approximate age of onset of enamel defects was then calculated on the basis of the chronological sequence of incremental deposition and calcification of the enamel matrix. Affected enamel was graded macroscopically as: - Mild: <30% of the tooth¿s enamel surface area visibly disrupted (this encompasses the entire range reported in most other studies), Moderate: 31-49% of the tooth's enamel surface area visibly disrupted and Severe: >50% of the tooth's enamel surface area visibly disrupted. Results: Of the total number of individuals 41 (93.2%) showed signs of enamel developmental dysplasia or MIH, 28 of them showing moderate or severe lesions of molars, primary or permanent (63.6% of the sample). Incisors and canines, though surviving much less often, showed episodes of linear hypoplasia. Conclusion:The extensive lesions seen on many of the molars displayed cuspal enamel hypoplasia (CEH). Many of these teeth also exhibited Molar Incisal Hypomineralisation (MIH).

Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production. / text

Individually Published Czech Festive and Occasional Preachings of the End of the 17th and the First Two Thirds of the 18th Century Miloš Sládek The thesis concentrates on the area of festive and occasional homiletics in Bohemia after the Battle of White Mountain. Since the end of the 17th century, homiletics had represented the Czech leading literary genre with extraordinary influence on the masses. This influence was even strenghtened when printed preachings gradually became popular reading. The main focus of the thesis is on the questions of preparation of preaching, problematics of preaching handbooks, relationship of a preacher and his listeners, as well as the area of Classicist and conceptual preaching. The Baroque concept is described in connections with the aspect of growing author's self-esteem at that time. Editions of chosen sixteen preachings with introductions are added to demonstrate (or relativise) the conclusions of the first part of the thesis. Festive preaching in Bohemia was essentially influenced by legends, German Catholic preaching and myths and folk-tales. Emphasis on Christian morality is typical for Sunday preaching, however, it also appears in festive preachings. The influence of festive and occasional preaching of the end of the 17th and the first half of the 18th century on...

The diploma thesis deals with the iconography and cult of St. Joseph in the Czech lands during the Baroque period. The first part of the thesis deals with the way St. Joseph is presented in sources, namely in canonical gospels, apocryphal gospels of childhood and in legends. The development of the cult and iconography of St. Joseph from antiquity to modern times is also outlined. The main part of the thesis focuses on the cult and iconography of St. Joseph in the Czech lands in the 17th and 18th centuries. The influence of the Habsburgs on the spread of this cult is taken into account. Attention is paid to the reception of St. Joseph among the patron saints of Bohemia and the introduction of his public holiday in 1654, which arose on the initiative of Emperor Ferdinand III. The next part of the thesis analyzes the responses to the reception of St. Joseph among the patron saints of Bohemia in art and also on the examples of his depiction in Baroque art in the Czech lands. The researched monuments include the fountain with the column of St. Joseph in the New Town of Prague, the statue of St. Joseph on Charles Bridge, painting of the Holy Family in the Church of Our Lady before Týn and the St. Joseph's painting cycle in Krzeszów in Silesia. Keywords St. Joseph, Baroque, Iconography, Cult, Habsburgs,...

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This dissertation thesis follows on the contemporary research focused on the early modern manuscript culture. The thesis deals with the Moravian manuscript hymnals from the 17th and 18th century and with their repertoire. The manuscript hymnography is one of the richest sources for an understanding of the popular piety, the Baroque literature and the church music. Some of the hymnals are accompanied by musical notation and a large number of them are beautiful illuminated. However, they have never been made accessible through modern edition, and there are hardly any analytical studies concerning these hymnbooks. The opening chapter summarizes the existing research on the given topic. It is followed by the description of approximately forty manuscript hymnals. The next chapter concentrates on some specific qualities of the manuscript publication and focuses on the song repertoire. The third chapter further develops the general theses. It is devoted to four manuscript hymnals from the sixties and the seventies of the 17th century. The analysis of their writing, ilumination and repertoire proves the same author - Jan Klabík from Želechovice. This chapter concentrates on the song repertoire, relations to older hymnals and the song canon. The fourth chapter focuses on two specific groups of songs: the...

La viole de gambe en Angleterre connaît un destin singulier, passant d’une popularité incontestable dans l’aristocratie anglaise au dix-septième siècle à un rejet d’une intensité croissante au fil du dix-huitième siècle. Les représentations de l’instrument dans des documents périphériques à la sphère musicale – lettres, poèmes, peintures – trahissent la complexité de l’imaginaire qui entoure la viole. Dans sa période faste, la viole génère simultanément des images lubriques de corps sensuel, et d’instrument noble en raison de la mélancolie supposée de son timbre. Elle est alors étroitement associée au sentiment national anglais, dont elle cristalliserait la spécificité. Cependant, sa popularité décroissante auprès de l’élite voit la prolifération d’images négatives : vieillesse et stérilité semblent désormais être l’apanage de la viole, que l’on met également à distance idéologiquement comme instrument étranger. La viole réapparaît dans la deuxième moitié du dix-huitième siècle au moment où le culte de la sensibilité se développe : brièvement, son archaïsme et son timbre unique donnent voix à l’individu et ses émotions. La viole, dans le paradigme cyclique de la Renaissance tout comme dans le paradigme linéaire et discursif des Lumières, parvient à s’incarner selon des modalités esthétiques et idéologiques très différentes dans l’imaginaire anglais / In England, the viola da gamba has a singular destiny, from an incontestable popularity with the aristocracy in the seventeenth century to a rejection of increasing intensity over the eighteenth century. The representations of the instrument in documents peripheral to the musical sphere, such as letters, poems or paintings, reveal the complexity of the imaginaire surrounding the instrument. Although, in prosperous times, the viol conjures up lewd images of a sensual body, it is simultaneously associated with ideals of nobility through the supposed melancholy of its tone. At that period, it is also felt to be closely connected to the English national identity, whose specificity it appears to crystallise. However, its dwindling popularity with the elite leads to the proliferation of negative images. Senescence and sterility are increasingly associated with the viol, while ideologically, the instrument is spurned as non- English. The brief resurgence of the viol in the second half of the eighteenth century is brought on by the development of the cult of sensibility. Individual emotions are voiced through its perceived archaism and unique tone. The viola da gamba, both in the circular paradigm of the Renaissance, and in the linear and discursive paradigm of the Enlightenment, successfully embodies contrasting aesthetic and ideological imaginaires