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241	Competing Models of Hegemonic Masculinity in English Civil War Memoirs by Women Du Bon-Atmai, Evelyn 12 1900 (has links) This thesis examines the descriptions of Royalist and Parliamentarian masculinity in English Civil War memoirs by women through a close reading of three biographical memoirs written by Margaret Cavendish, duchess of Newcastle; Lady Ann Fanshawe; and Lucy Hutchinson. Descriptions of masculinity are evaluated through the lens of Raewyn Connell's theory of hegemonic masculinity to understand the impact two competing models of masculinity had on the social and political culture of the period. The prevailing Parliamentarian hegemonic masculinity in English Civil War memoirs is traced to its origins before the English Civil War to demonstrate how hegemonic masculinity changes over time. The thesis argues that these memoirs provide evidence of two competing models of Royalist and Parliamentarian masculinities during the Civil War that date back to changes in the Puritan meaning of the phrase “man of merit”, which influenced the development of a Parliamentarian model of masculinity. English Civil War Gender Masculinity Masculinity in literature.
242	The Artistic and Architectural Patronage of Countess Urraca of Santa MarÃa de CaÃ±as: A Powerful Aristocrat, Abbess, and Advocate McMullin, Julia Alice Jardine 09 May 2005 (has links) (PDF) Countess Urraca Lope de Haro was the daughter of the noble Lord Diego Lope de Haro, friend and advisor to King Alfonso VIII of Castilla-León and granddaughter of Lord Lope Díaz de Haro and Lady Aldonza Ruiz de Castro, aristocratic courtiers as well as popular monastic patrons. As a young and wealthy widow, Countess Urraca took monastic vows at the Cistercian nunnery of Santa María de Cañas founded by her grandparents. Within a short time of uniting herself to this monastery, she was chosen as its fourth abbess in 1225, a position she held for thirty-seven years until her death in 1262. Following the tradition of monastic patronage established by her noble family members, Countess Urraca expanded the monastery's small real estate holdings, oversaw extensive building projects to create permanent structures for the nunnery, and patronized artistic projects including statuettes of the Virgin Mary and St. Peter in addition to her own decorative stone sarcophagus during her term as abbess. This thesis examines the artistic decoration and architectural patronage of this powerful woman and the influences she incorporated into the monastic structures at Cañas as she oversaw their construction. In dating the original buildings of the monastery at Cañas to the period of Countess Urraca's leadership, the predominant architectural features and decorative details of female Cistercian foundations in northern Spain are discussed. Comparisons with additional thirteenth-century Cistercian monasteries from the same region in northern Spain are offered to demonstrate the artistic connections with the structures Countess Urraca patronized. In addition, this thesis examines Countess Urraca's obvious devotion to the Virgin Mary and St. Peter by considering the medieval monastic world in which she lived and the strong emphasis the Cistercian Order placed on such worship practices. The potent spiritual connections Countess Urraca made by commissioning images of essential, holy intercessors testifies to her devotion to them and the powerful salvatory role she herself played in the lives of the nuns for whom she was responsible. As a nun and abbess, Countess Urraca was urged to emulate Mary's mothering, nurturing qualities, and, as she did so was simultaneously empowered by the Virgin's heavenly authority as administrator of mercy. Indeed, through studying her art it is clear that she saw herself as an intercessor on behalf of the nuns for whom she was responsible. Furthermore, discussion of the imagery displayed on Countess Urraca's decorative stone sarcophagus demonstrates not only a similar message of salvation through intercessors such as Peter and Mary, but also testifies of Abbess Urraca's aristocratic lineage. Through this artistic commission, the Abbess creates another direct, personal link between herself and the Virgin by including the symbol of the rosary throughout the iconography of her tomb. Such a symbol represents her devotion to Mary as Queen of Heaven and simultaneously empowers Countess Urraca as an intercessor herself. All of these architectural and artistic commissions confirm that she was a powerful woman who wielded a great deal of influence. Urraca nun monastery patronage medieval architecture statuette sarcophagus Las Huelgas Santa Maria de Canas Virgin Mary power thirteenth century Cistercian Spain Gothic rosary Marian psalter Burgos Canas Lope de Haro Diego Lope de Haro Aldonza Ruiz de Castro countess aristocrat noble abbess St. Peter cult of Mary Bernard of Clairvaux Art Practice
243	In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters) Murdock, Mark Cammeron 24 June 2009 (has links) (PDF) This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order. cheating cheat duels duelist French France honor honor codes historical causality chance sexuality masculinity aristocracy noble chivalry knight mobster gangster sixteenth century twentieth century gambling republican Gaullist crime film film noir Brantôme Melville Mérimée Colombière Chatauvillard Guitry Dassin Italian Language and Literature
244	The Ophelia versions : representations of a dramatic type, 1600-1633 Benson, Fiona January 2008 (has links) ‘The Ophelia Versions: Representations of a Dramatic Type from 1600-1633’ interrogates early modern drama’s use of the Ophelia type, which is defined in reference to Hamlet’s Ophelia and the behavioural patterns she exhibits: abandonment, derangement and suicide. Chapter one investigates Shakespeare’s Ophelia in Hamlet, finding that Ophelia is strongly identified with the ballad corpus. I argue that the popular ballad medium that Shakespeare imports into the play via Ophelia is a subversive force that contends with and destabilizes the linear trajectory of Hamlet’s revenge tragedy narrative. The alternative space of Ophelia’s ballad narrative is, however, shut down by her suicide which, I argue, is influenced by the models of classical theatre. This ending conspires with the repressive legal and social restrictions placed upon early modern unmarried women and sets up a dangerous precedent by killing off the unassimilated abandoned woman. Chapter two argues that Shakespeare and Fletcher’s The Two Noble Kinsmen amplifies Ophelia’s folk and ballad associations in their portrayal of the Jailer’s Daughter. Her comedic marital ending is enabled by a collaborative, communal, folk-cure. The play nevertheless registers a proto-feminist awareness of the peculiar losses suffered by early modern women in marriage and this knowledge deeply troubles the Jailer’s Daughter’s happy ending. Chapter three explores the role of Lucibella in The Tragedy of Hoffman arguing that the play is a direct response to Hamlet’s treatment of revenge and that Lucibella is caught up in an authorial project of disambiguation which attempts to return the revenge plot to its morality roots. Chapters four and five explore the narratives of Aspatia in The Maid’s Tragedy and Penthea in The Broken Heart, finding in their very conformism to the behaviours prescribed for them, both by the Ophelia type itself and by early modern society in general, a radical protest against the limitations and repressions of those roles. This thesis is consistently invested in the competing dialectics and authorities of oral and textual mediums in these plays. The Ophelia type, perhaps because of Hamlet’s Ophelia’s identification with the ballad corpus, proves an interesting gauge of each play’s engagement with emergent notions of textual authority in the early modern period. 820.9003
245	The dangerous edge of things : John Webster's Bosola in context & performance Buckingham, John F. January 2011 (has links) This thesis argues that there is an enigma at the heart of Webster's The Duchess of Malfi; a disjunction between the critical history of the play and its reception in performance. Historical disquiet about the status of the play among academics and cultural commentators has not prevented its popularity with audiences. It has, however, affected some of the staging decisions made by theatre companies mounting productions. Allied to other practical factors, these have impacted significantly – and occasionally disastrously – upon performances. It is argued that Webster conceived the play as a meditation on degree and, in aiming to draw out the maximum relevance from the social satire, deliberately created the multi-faceted performative role of Bosola to work his audience in a complex and subversive manner. The role's purpose was determined in response to the structural discontinuity imposed upon the play by the physical realities of staging within the Blackfriars' auditorium. But Webster also needed an agent to serve the plot's development and, in creating the role he also invented a character, developed way beyond the material of his sources. This character proved as trapped as any other in the play by the consequences of his own moral choices. Hovering between role and character, Webster's creation remains liminally poised on ‘the dangerous edge of things.' Part One explores the contexts in which Webster created one of the most ambiguous figures in early modern drama - subverting stock malcontent, villain and revenger - and speculates on the importance of the actor, John Lowin in its genesis. It includes a subsequent performance history of the role. Part Two presents the detailed analysis of a range of professional performances from the past four decades, attempting to demonstrate how the meaning of the play has been altered by decisions made regarding the part of Bosola. 820.9003
246	DER TOD CHRISTI: DARSTELLUNG UND DEUTUNG IM CORPUS PAULINUM UND IN DER GEGENWÄRTIGEN DISKUSSION UM DIE SÜHNETHEOLOGISCHE DEUTUNG DES TODES JESU / The death of Christ: presentation and interpretation in the Corpus Paulinum and the recent debate regarding its atoning propitiatory significance Orth, Christopher Jonas 02 1900 (has links) Text in German, abstracts in English and German / Die Diskussion zum richtigen Verständnis des Todes Christi hat zu Beginn des 21. Jahrhundertsnoch an Vehemenz zugenommen. Dabei wird vor allem die traditionelle Deutung desTodes Christi als stellvertretender Sühnetod stark kritisiert und ihre Berechtigung in Fragegestellt. Die vorliegende Arbeit nimmt die wesentlichen Fragen dieser Kritik aus dem deutschsprachigenRaum auf. Anhand einer historisch-kanonischen Exegese der Stellen, bei denen derTod Christi in den als echt anerkannten paulinischen Briefen explizit oder implizit angeführtwird, wird die jeweilige Deutung dieses Todes geprüft. Ferner werden die Fragen nach demtraditionsgeschichtlichen Hintergrund der verschiedenen Deutungen behandelt. Lässt sich dieVorstellung des stellvertretenden Sühnetods bei Paulus als zentrale und angemessene Deutungdes Todes Christi nachweisen oder kann sie aufgegeben werden? / The discussion of the proper interpretation of the death of Christ has been gaining momentum since the beginning of the 21st century. In particular, the traditional interpretation of Christ’s death as expiation and penal substitution faces severe criticism and its warranty is challenged from several perspectives. This thesis takes up the essential critique voiced in the discussion in central Europe. By means of a historical-canonical exegesis of the explicit or implicit references to Christ’s death in the authentic Pauline letters, it examines how Christ’s death is understood in each case. The questions of the possible backdrop of these references to the death of Christ will also be examined. The thesis argues that, in Paul’s understanding of Christ’s death, penal substitution and atonement are appropriate and central categories which must not be abandoned in reconstructions of Pauline soteriology / New Testament / .M. Th. (New Testament) Jesus Christ Death Dying Resurrection Paul New Testament Atonement Expiation Penal Substitution Propitiation Reconciliation Pauline Epistles Historical-canonical exegesis Self-giving Blood Sacrifice Sin Tradition-history Noble death Old Testament Isaiah 53 Jesus Christus Tod Sterben Auferstehung Paulus Neues Testament Suhne Stellvertretung Versohnung Paulusbriefe Histirisch-kanonische Exegese Hingabe Blut Opfer Sunde Traditionsgeschichte Hellenistisch-romisches Sterban fur Altes Testament Jesaja 53 232.3 Jesus Christ -- Atonement Jesuss Christ -- Death Bible -- Epistles of Paul Resurrection -- Biblical teaching Sacrifice -- Biblical teaching
247	“The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963) Adam, Karen 24 April 2012 (has links) This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and portrayed Powell both during and after his lifetime, this thesis links Powell’s obscurity to a deliberate, public rejection of his Anglo-Saxon supremacist definition of the United States. John Powell (1882-1963) Powell John musical propaganda Anglo-Saxon Clubs of America Anglo-Saxon supremacy white supremacy Racial Integrity Act of 1924 one drop rule racial integrity racial purity John Powell Foundation White Top Folk Festival Annabel Morris Buchanan Buchanan Annabel Morris Radford University Radford College Powell Hall Roy Hamlin Johnson Johnson Roy Hamlin classical music classical piano classical pianist pianist Virginian Virginia Earnest Sevier Cox Cox Earnest Sevier Walter Ashby Plecker Plecker Walter Ashby Sonate Noble Sonata Teutonica Symphony in A Rhapsodie Negre Richard Brockwell Brockwell Richard At the Fair Sonata Virginianesque Marcus Garvey Garvey Marcus John Powell Day Anglo-Saxon folk music Anglo-Saxon racism racist Martin Luther King Jr. King Martin Luther Jr. musical politics sociopolitical memory public memory public history reputation legacy Richmond Virginia John Powell Arts and Humanities History

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