When scholars look for a Shakespearean analogue to Queen Elizabeth I, they often look no farther than his Richard II, the deposed and effeminate king with whom Elizabeth was known to compare herself. This report seeks to broaden our reading of Shakespeare's Henriad by arguing that, in fact, there are echoes of Elizabeth in both Henry IV and Henry V, successors to Richard II. These traces of Elizabeth reveal the Henriad's fantasy of a male-dominated political sphere as just that: a fantasy. Moreover, this appropriation of maternal or effeminate characteristics is not limited to the Henriad's rulers, but occurs several times in the Shakespearean canon. This absorption becomes another way for Shakespeare's plays to manage their anxiety over threatening women even as they appropriate the authority of an aging Elizabeth. / text

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In this thesis, we sought to understand the use of emotions as a political tool within the context of Spanish History in the 15th century.  Using the theoretical and methodological approach of Emotional History, heavily influenced by Barbara Rosenwein, Piroska Nagy, and Damien Boquet; we go through the royal chronicles written by Diego de Valera and Alonso de Palencia, analyzing the uses of emotions as a way of controlling the narrative of the kingdom.  We see that emotions not only had a complex range of meanings and symbolism attached, but also that these were used to paint the image of monarchs in a brighter or darker light.

Recent scholarship has explored the “Machiavellian” actions of Prince Hal in Henry IV, Part 1 ; yet the classical rhetorical pedagogy of Renaissance Britain suggests that the speeches in the play lead to a transformation in Hal that is antithetical to the emergent understanding of Hal as a great manipulator. Falstaff uses the ruse of rhetoric instructor in order to construct a classical rhetorical argument for his own ends, and Henry IV gives a passionate yet formally adept (and classically rhetorical) plea to his son in order to incite change. An analysis of Falstaff and Henry’s arguments as well as Hal’s responses provides the framework of understanding the play not as an example of what has been called “Machiavellianism” but rather as a testament to the power of what Cicero calls the "good man skilled in speaking.”

This thesis examines the political career of Henry Percy, 1st earl of Northumberland. Chapter one examines the background of the Percy family, and Henry Percy's career in the years leading to his elevation to the earldom of Northumberland. Chapter two considers his relationships with John of Gaunt and the Neville family both at times of crisis and during times of relative stability. It also examines his relationship with the wider political community in the north of England and his role on the Scottish border during the late fourteenth century. Chapter three focuses on the turbulent years of 1399-1403. It offers new interpretations of Percy's participation in the revolution of 1399 and in the events leading to the 1403 rebellion led by his son Henry 'Hotspur'. Chapter four traces the final years of Percy's life from 1404-8. It re-interprets the events leading to his flight to Scotland in 1405, his years there, in Wales and on the continent and his final, fatal return to England in 1408.

Cette thèse porte sur la prérogative la plus importante du pape durant la première modernité, c’est-à-dire le pouvoir que lui donnaient les clefs du royaume des cieux. Cette faculté de lier et de délier tous les hommes dans l’économie du salut fut contestée au XVIe siècle par la Réforme protestante et par les monarchies européennes. L’enjeu est de comprendre comment la papauté affirma la nature spirituelle de sa suprématie tout en prétendant donner à celle-ci des effets politiques. Une première partie est consacrée aux controverses sur le pouvoir ecclésiastique du concile de Pise à la Réforme luthérienne. Une seconde partie examine les relations entre la papauté et les États à travers l’exercice du pouvoir de déposition. En raison de la richesse de la documentation conservée à l’Archivio Segreto Vaticano, une enquête approfondie est menée sur le cas de l’excommunication et de l’absolution d’Henri IV. Ce travail explique ainsi comment la politique romaine permit à la papauté de rester un acteur politique majeur dans l’Europe du XVIe siècle. / This PhD thesis deals with the most important prerogative of the pope during the early modern period, i. e. the power that the keys of the kingdom of heaven gave to him. This power to bind and to loose all men in the economy of Salvation was contested during the Sixteenth Century by the Protestant Reformation and by the european monarchies. What is at stake is to understand how the papacy asserted the spiritual value of the papal supremacy while asserting its political effects. A first part turns on the controversies about ecclesiastical power from the council of Pisa to the Lutheran Reformation. A second part deals with the relationship between the papacy and the states through the use of the deposing power. Owing to the richness of the documentation conserved in the Archivio Segreto Vaticano, a thorough inquiry is conducted on the case of the excommunication and of the absolution of Henry IV. This work explains thus how the roman policy enabled the papacy to remain a political actor of first importance in the Europe of the Sixteenth Century.

Marie de' Medici began the 'jardin du Luxembourg' during her Regency for Louis XIII. As Henry IV's queen, she had clung tenaciously to her Italian family heritage and as her upbringing had close associations with the spectacular 'giardino di Boboli', she was thus inspired to utilize it as the prototype for her Parisian garden. The validation of Marie de' Medici's success lies in the investigation of both gardens to determine the recurring features and to ascertain their precise chronology. Evidence suggests that some replicated features were well known to Marie, the 'Grotta Grande', the original layout and the amphitheatre's general form; while other features, the 'Isolotto' and the amphitheatre's stone seating, were not. These were realized either concurrently or even later than similar features at Luxembourg: a factor overlooked by historians who habitually cite the formative role of Boboli at Luxembourg.

This thesis seeks to examine not any single theory of kingship in Shakespeare's 'Henriad', but the evolving methods of its representation from Richard II's assumed embodiment of monarchic authority to Henry V's unapologetic performance of the kingly role. As well, it explores how a shared awareness of authority's performed nature forces the spectator into knowing her own creative authority and in doing so, heightens not only the tension between gazer and gazed-upon, but also lays bare the spectator's need to watch a desired object and the performing object's overarching wish to be watched. The paper's critical foundation ranges from phenomenological approaches to the theatre and gender performance to studies on the spectacle of kingship.

Le règne d’Henri IV est incontestablement l’un des plus importants de l’histoire de France, et les ouvrages qui ont été consacrés à ce monarque sont innombrables. De plus, la musique a également retenu un grand intérêt parmi les chercheurs, et des études précédentes ont apporté des éléments édifiants concernant plusieurs aspects de la vie musicale durant ce règne, notamment sur les compositeurs en contact avec sa cour (comme Pierre Guédron et Eustache Du Caurroy) et sur les genres les plus populaires à cette époque (les chansons, les airs de cours, et les ballets). Or, une étude historique de la musique à la cour d’Henri IV, comparable à celles qui ont été faites par Christelle Cazaux et Isabelle Handy pour les autres cours françaises du XVIe siècle, restait à faire. L’objet de cette thèse est donc de préciser la place de la musique lors de la célébration des événements politiques et l’identité des musiciens qui travaillaient à la cour d’Henri IV. Elle est présentée en trois parties principales. La première partie est consacrée à l’étude des aspects qui ont contribué au développement de la musique pendant ce règne, dont la place de cet art dans la formation aristocratique et les goûts musicaux personnels de la famille royale. La deuxième partie se concentre sur le fonctionnement des différents corps musicaux de la cour (la Chapelle, la Chambre et l’Écurie). Enfin, une dernière partie évalue le rôle tenu par la musique dans les événements de cour sous Henri IV, comme les mariages, les obsèques et les entrées royales, et elle intègre également un examen de la place de la musique dans les fêtes politiques et dans les entrées des grands personnages en France à cette époque. / The reign of Henry IV is undoubtedly one of the most important in the history of France, and countless works have been devoted to the study of this monarch. In addition, music from this period has also attracted the interest of scholars, and previous studies have shed light on several aspects of musical life during this reign, notably on the composers connected to Henry’s court (like Pierre Guédron and Eustache Du Caurroy) as well as on the most popular genres from this time (chansons, airs de cour and ballets). Nevertheless, a historical study of music at Henry IV’s court, comparable to those already completed by Christelle Cazaux and Isabelle Handy on the courts of other French monarchs during the sixteenth century, remained to be undertaken.The aim of this doctorate is thus to clarify both the place of music during the celebration of political events and the identity of musicians who worked at Henry IV’s court. It is divided into three main sections. The first focuses on aspects which contributed to the development of music during this reign, including the place of music within noble training and the personal musical inclinations of the royal family. The second concentrates on the function of the different musical groups at court (the Chapel, the Chamber and the Stables). Finally, the last section examines the role of music in court events under Henry IV, such as marriages, funeral ceremonies and royal entries, and this section also encompasses a discussion of music’s place in political events and in the entries of important dignitaries in France at this time.