<p>This thesis examines the metaphorical expressions of Robert Southwell and John Donne in light of the instability created in metaphorical thought by Reformational debates. I argue that the theological doctrines regarding the Eucharist and Biblical interpretation had associated consequences for figurative thought and that the violence with which these doctrines were interrogated in early modern England created a crisis of figurative representation that contributed to the elaborate experimentation of metaphor (layerings, argued conceits, rapid transitions between tropes, etc.) found within the poetry of Southwell and Donne.</p> <p>My first chapter traces the theological landscape of early modern England, noting the continental Catholic and Protestant positions which defined the Reformational debates, as well as roughly locating the position of the English Church in the centre of these debates. While each of these doctrinal positions contains certain understandings about metaphorical thought, this chapter argues that it is the general uncertainty and the society-wide fluctuations between these ideas that defines my concept of the “theological aesthetic.” In my final two chapters I look at specific metaphors in the works of Robert Southwell (“Saint Peter’s Complaint,” “Christ’s bloody sweat,” and “The prodigal childs soule wracke”) and John Donne (“The Cross,” “Holy Sonnet 10: Batter my heart, three- personed God,” and “Holy Sonnet 2: I am a little world made cunningly”). Close analysis of these poems reveals that Southwell’s poetry often combines imagery and tropes in complicated ways to form multifaceted metaphors, while Donne’s poetry often functions as a meditation upon the possibilities of figurative language to create meaning.</p> <p>This thesis does not attempt to form a comprehensive theory of early modern metaphor, but rather examines how the theological debates of the Reformation questioned the representational efficacy of figurative language, allowing metaphor to be redefined by the experiments of early modern poets like Southwell and Donne.</p> / Master of English

<p>The longstanding relationship between honour and violence has obvious martial and chivalric overtones. The prevalence of the duel in early modern England points to the developing performativity and growing symbolic meaning of violence during the period, a codified violence that relied heavily on hierarchical guidelines. The duel helped to stabilize social notions of rank and masculinity, and became a means of culturally validating masculinity and reifying honour codes. This thesis frames a study of violence and its relationship to honour and masculine identity through analysis of dramatized scenes involving masculine honour in three of Shakespeare’s plays – <em>Twelfth Night</em>, <em>Henry V</em>, and <em>Hamlet</em> – with a concurrent investigation of contemporary policies and essays on civility and honour. I examine instances of public violence that directly relate to private or personal concepts of honour, as well as the ways in which honour is conceived of and transmitted both linearly, through generations, and horizontally through discourses of national or social honour to one’s duty. This study contributes to a sense of honour as a dynamic and omnipresent discourse in the early modern era, one that structured and dictated the lives of the Elizabethan aristocracy.</p> / Master of Arts (MA)

This thesis examines attitudes toward infertility in early modern England and colonial New England from c.1620 to 1720 through infertility’s representation in contemporary medical, religious, and literary sources. This study uses an expanded definition of infertility, namely a 'spectrum of infertility', to capture the tensions that arose during periods of infertility and experiences of reproductive failure such as miscarriages, stillbirths, monstrous births, and false conceptions. A spectrum, more than a modern definition, more accurately represents the range of bodily conditions experienced by early modern women and men that indicated reproductive disorder in the body; by extension, the language of infertility expressed fears about disorder in times of social, religious, and political crisis in early modern society. The two societies' relationship was often described through reproductive language and the language of infertility appears in both societies when order - within the body, within marriages, or within and between communities - was threatened. This thesis contributes to a growing body of scholarship on infertility in early modern society by analysing its presence in communications within and between early modern England and colonial New England. It argues that understanding the English origins of the colonists' attitudes toward infertility is fundamental both to understanding the close connection between the two societies and to providing context for the colonists' perceptions about their encounters with new lands, bodies, environments, and reasons for emigration. As a result, this thesis seeks to break new ground in providing an overview of social, medical, and cultural reactions in both England and New England, demonstrating that similar language and tropes were used in both regions to communicate concerns about infertility. Exploring the interplay between the many sources addressing this health issue more accurately represents the complexity of early modern attitudes toward infertility, and the intimacy of the relationship between the fledgling New England colonies and their metaphorical Mother England.

In contradistinction to critical trends which have rendered Milton’s thought disembodied, this thesis studies how seventeenth-century material culture informed Milton’s poetry and prose at the epistemic level and by suggesting a palette of forms for literary play. The first chapter explores the early modern culture of fruit. At the epistemic level, practices of fruit cultivation and consumption inform Milton’s imagination and his vocabulary, thereby connecting their historic-material lives with their symbolic ones. Milton further turns commonplace gestures of fruit consumption into narrative devices that frame discussions of agency, aspiration, sinful and right practice. The second chapter examines two floral catalogues to discover how they find shape through the epistemologies of flowers, ceremony, and decorative arts. Here material culture shapes literary convention, as one catalogue is found to secret ceremonial consolation in its natural ingenuousness, while the other’s delight in human physicality upsets the distinctions between inner virtue and outer ornament, faith and rite. In the third chapter, urban epistemologies of light, darkness, movement, and space are examined through urban phenomena: skyline, suburbs, highways, theft, and waterways. By interpellating contemporary debates, these categories anatomise fallen character, intent, action, and their consequences. Milton’s instinctive distaste for urban nuisances is interesting in this Republican figure and is subversive of some ideologies of the text. Discursive and material aspects meet again in the fourth chapter in a discussion of his graphic presentations of geography on the page. Usually prone to analyses of textual knowledge, they are also informed by the embodiment of knowledge as material object. Milton’s search for a fitting cartographic aesthetic for the Biblical narrative and for the rhetoric of his characters leads him to an increasing consciousness of the ideologies energising these material forms. The fifth chapter explores Milton’s engagement with forms of armour and weapons. Military preferences for speed and mobility over armour help Milton explore the difference between unfallen and fallen being. Milton also uses his inescapably proleptic knowledge of arms and armour as a field of imaginative play for representations that are both anachronistic and typological. These lead to a discussion of imitation in the mythic imagination. In each of these studies, we witness Milton’s consciousness of his temporal and proleptic location, and his attempts to marry the temporal and the pan- or atemporal. In the conclusion I suggest that Milton’s simultaneous courting of the atemporal while he is drawn to or draws on temporal material culture imply an incarnational aesthetic.

After a two-decade hiatus, the English church courts were revived by an act of Parliament on 27 July 1661, to resume their traditional task of correcting spiritual and moral misdemeanours. Soon thereafter, parishioners across England's dioceses once more faced admonition, fines, excommunication, and even imprisonment if they failed to conform to the laws of the restored Church of England. Whether they were successful or not in maintaining orthodoxy has been the principal question guiding historians interested in these tribunals, and most have concluded that, at least compared to their antebellum predecessors, the restored church courts constituted little more than a paper tiger, whose censures did little to halt the spread of dissent, partial conformity and immoral behaviour. This thesis will, in part, question such conclusions. Its main purpose, however, is to make a methodological intervention in the study of ecclesiastical court records. Rejecting Geoffrey Elton's assertion that these records represent 'the most strikingly repulsive relics of the past', it argues that a closer, more creative study of the bureaucratic processes maintaining the church courts can considerably enhance not only our understanding of these rather enigmatic tribunals but also of the individuals and communities who interacted with them. Studying those in charge of the courts, the first half of this thesis will explore the considerable friction between the Church's ministry and the salaried bureaucrats and lawyers permanently staffing the courts. This, it argues, has important ramifications for our understanding of early modern office-holding, but it also sheds new light on the theological disposition of the Restoration Church. Using the same sources, coupled with substantial consultation of contemporary polemic, letters and diaries, the fourth and fifth chapters will argue that the sanctions of the restored church courts were often far from the 'empty threat' historians have tended to assume. Excommunication in particular could be profoundly distressing even for such radical dissenters as the Quakers, and this should cause us to reconsider how individuals and communities from various hues of the denominational spectrum related to the established Church.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], ii, 104 p. Includes bibliographical references (p. 101-104).

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<p dir="ltr">The popularity and success of <i>A Testimonie of Antiquitie </i>is apparent in the number of printed editions between 1566-1687; as Allen Frantzen writes in his <i>Desire for Origins</i>, it was one of the most frequently printed Old English texts. However, no one has ever conducted a critical examination of every printed edition of Ælfric’s Easter Homily from its first printing in 1566/1567 to its last printed edition in the seventeenth century in 1687. Examining these editions through a book and print history lens is vastly productive. It enables us to see how printers and translators have made lasting impacts on the text and how historical events influenced the editorial decisions and production of the editions. Furthermore, comparing and contrasting the transcriptions and translations in the editions brings new understanding as to how translators and printers were utilizing these texts for editorial and formatting purposes. From this examination, we can draw important connections among the editions; these connections demonstrate which edition a translator and printer utilized for their publication of the text. Tracking the editorial and formatting changes of the editions and placing those changes within a historical context provides key information on why and how these editions were being produced. Moreover, this dissertation exemplifies the trajectory of early modern English book and print history.</p>

In his most popular prose work, Mary Magdalens Funeral Teares (1591), English Jesuit Robert Southwell adapts the Mary Magdalene tradition by incorporating the meditative practices of St. Ignatius Loyola coupled with the Petrarchan language of poetry. Thus, he creates a prose work that ministered to Catholic souls, appealed to Protestant audiences, and initiated the literature of tears in England. Southwell readapts the traditional image of Mary Magdalene for a Catholic Early Modern audience by utilizing the techniques of Jesuit meditation, which later flourished in the weeper texts of Richard Crashaw and George Herbert. His vividly imagined scenes also employ the Petrarchan and Ovidian language of longing and absence and coincide with both traditional and mystic early church writers such as Bernard and Augustine. Through this combination, Southwell’s Marie Magdalens Funeral Teares resonated with Catholics deprived of both ministry and the presence of Christ in the Eucharist. These contributions solidify Southwell’s place as a pivotal figure in the religious and literary contexts of Early Modern England.

Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.