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The conventional picture of Bishop Bonner as the 'butcherly beast" of the Marian persecutions has never been seriously investigated. Discussion of the problems of his family and his education, together with a study of his service in Wolsey's household and his relationship with Thomas Cromwell form the first part of this thesis. Bonner's diplomatic career as Henry VIII's ambassador in Rome, Germany, France and Spain between 1532 and 1543 as well as his government service in England between 1535 and 1541 are next considered. The diocesan financial structure and Bonner's policy in clerical appointments have been analyzed for both halves of his episcopate, the nature of the sources rendering it necessary to consider his episcopal administration as a whole. Finally the development of Bonner's theological views up to 1549 and the story of his trial in that year complete this study. Bonner's was a complex personality, quarrelsome and rude, yet probably obsequious and time-serving. He was certainly ambitious and clever, but he seems to have lacked both statesmanship and judgment. This is the picture of him as he was before he participated in the storms of the Marian Counter-Reformation. Much of the material for this thesis has been taken from the State Papers. There are, however, three other main manuscript sources which have been used. The Lechmere papers in the Worcestershire Record Office throw some light on Bonner's early youth and the volume of hiB despatches in the Yelverton collection in the British Museum revealS his activity in the winter of 1535-1536. The account books of the Bishop of London's Receiver-General for 1526-1521 and 1561-1568 in the Guildhall Library and the account rolls for 1549-1550 and 1555-1556 in the Public Record Office provide the basis for the analysis of the Bishop's diocesan administration.

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The essay is a study of The Glassy Sea by the Canadian author Marian Engel. The novel focuses on the main character's self exploration ans her search for identity. A Jungian approach to this novel is particularly appropriate since the author makes use of several achetypes and symbols. Moreover, the novel is presented in an introspective manner that brings to the mind the method of self-examination used in psychoanalysis. The essay studies the development of the main character's identity, Rita. Her quest can be summed up in two questions: Who is she and what does she want to do with her life? We follow Rita through a series of steps that will lead her to maturity and to an independant life. Her development takes place in stages and the essay focuses on four of these. There is a regularity of pattern at each stage; Rita lives in different homes where she is under the influence of a mentor, whose role model she accepts at first, submits to and finally rejects. Among the archetypal images that appear in the novel, we find that the mother archetype is omnipresent and that Rita's growth progress is strongly connected to the mother complex. The author also makes use of the egg, the rose and the sea symbols to underline certain aspects of Rita's development. The essay seeks to connect Rita's developmental phases to the initiation rituals and the individuation process described by Jung.

The north transept portal at Notre-Dame in Paris depicts the legend of Theophilus. This legend is about a church official who sells his soul to the devil but then repents and is granted salvation with the help of the Virgin. This legend was one of the most popular Marian miracles in the medieval period, but it was extremely rare in sculpture. The rare subject, combined with the location’s importance (over a ceremonial door), lead me to propose a supplementary reading of this relief. The general consensus is that the Theophilus legend was used didactically or to honor the Virgin, and while I do not disagree that these reasons hold true at Notre-Dame as well, I propose an additional, site-specific reading. Considering the social and political environment of the cathedral and its hierarchy, especially the relationship between the bishop and his canons over the jurisdiction of the cathedral during the medieval period and particularly during the construction of the Gothic church, I contend that the Theophilus legend depicted on the north transept portal is a visual manifestation of the relationship between the bishop and his chapter. The lack of the bishop’s authority is portrayed, for a specially educated audience, in the inclusion of the bishop in a legend where he was a minor figure and in a sculpture in a physical location—the entrance from the canons’ cloister— where he had no authority. I argue further that, because of the exegetical identification of the Virgin with the church, the canons’ special devotion to the Virgin, and the canons’ association with the church they were in charge of building and running, the Marian imagery was a device used by the canons to mark their presence in their cathedral and, by asserting their presence, to demonstrate their authority and independence from the bishop. / text

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Alvarez’s In the Time of the Butterflies is a fictional depiction of three sisters who are lauded for their role in ending the supremacist, womanizing, and terror-inspiring reign of Trujillo. While, one character, Patria, seems to represent the traditional, and at times cloistered, life of a Dominican wife and mother (reflecting the Malinche and sufrida archetypes), the text also shows her transformation into one of the most vital figureheads of the revolution. I find that when she joins the revolution, she comes as a transformed Marian-figure. Unlike Ibez Gomez Vega and other feminist scholars who have categorized Patria as one torn between two ways and who chooses to replace the old ways with new ways, I argue that Patria finds a way to live pluralistically, as she inhabits the role of a revolutionized and evolved Madonna whom Gloria Anzaldua would refer to as a "new mestiza." This term changes its Aztec root "mestiza," meaning torn between ways into, a new mestiza who "copes by developing a tolerance for contradictions, [who] operates in a pluralistic mode–nothing is thrust out…nothing abandoned. Not only does she sustain contradictions, she turns the ambivalence into something else". In doing so, she reconstructs a Marian identity by returning to the Marian and Indigenous Goddess figures whose sexuality and equality with God have been buried by centuries of patriarchal and colonial fathers. This thesis demonstrates that Patria does not have to face the rigidity of certain feminist and secular standards. As a new mestiza. Patria can live beyond the rigidity of borders, and create something new, something that is truly Patria, out of womanhood.

This paper deals with history of less known Marian places of pilgrimage of South-West Bohemia with regard to changes of marian folk devutness.

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