The economy of favor was an essential mechanism in the construction of monarchical and colonial power, encouraging the loyalty of subjects and a more effective control of the territory. Through an analysis of the residencia of don Pedro Osores de Ulloa, this article aims to examine the role of Charcas’s second visita and land composition judge in the exercise of colonial favor. The research suggests that land and the assignment of its property, mediated by Osores de Ulloa, formed the basis of loyalty and patronage relationships that strengthened viceregal power in Charcas and articulated different layers of power. / La economía de la gracia era un mecanismo esencial en la construcción del poder monárquico y virreinal, al fomentar la lealtad de los súbditos y el control efectivo del territorio. A partir de la residencia de don Pedro Osores de Ulloa, este artículo examina el rol del segundo juez de visita y composición de tierras charqueñas en el ejercicio de la dádiva virreinal. En ese sentido, se postula que la tierra y la cesión de los derechos a su propiedad, mediatizadas por Osores de Ulloa, constituyeron la base de relaciones de lealtad y patronazgo que afianzaron el dominio virreinal sobre los vecinos charqueños al tiempo que articularon las distintas esferas jurisdiccionales del poder.

This dissertation questions the dominant role that analogies to painting have played in the critical reception of the Italian madrigal—especially its flagship technique, the madrigalism—and argues for a more historically sensitive approach to sixteenth-century discussions of music–text relations in that genre. This approach centers rhetoric, understood broadly to encompass theories of style and subject matter, emotional response, and fictional representation, as the primary field of study to which musicians turned in their efforts to theorize musical expression. In its final chapter, the dissertation suggests that this rhetorical saturation of discourse around madrigals also to some degree influenced the composing of madrigals. Chapter 1 traces the outlines of what I call the “Galileian critical tradition” between the publication of Vincenzo Galilei’s 1581 "Dialogo della musica antica, et ella moderna" and the present. This tradition is characterized by a tendency among writers to dismiss the madrigalism on expressive grounds and, as time passes, increasingly in visual terms. Returning to the sixteenth century, chapter 2 argues that the phrase “imitating the words” (imitare le parole), which was adopted by Galilei, Gioseffo Zarlino, and others in the mid- to late Cinquecento to describe those novel techniques for the musical representation of text commonly seen in madrigals, acquires an affective connotation, in addition to its descriptive meaning, when placed in the context of contemporaneous literary studies of imitation (mimesis), especially those stemming from the recovery of Aristotle’s "Poetics." This affective dimension of the imitation principle, first theorized by Aristotle but creatively elaborated by his Renaissance commentators, highlights the cognitive pleasure that humans, because of a natural affinity for imitation, take from fiction—a species of pleasure, I suggest, relevant to the musical practice that “imitating the words” names. Turning from pleasure to passion, chapter 3 makes a case for the presence of a “two-stage model for emotional arousal” (as I call it) in sixteenth-century Italian music theory. Surveying this model’s foundation in physiological, rhetorical, and natural-philosophical texts, I show how Zarlino adapted its principles to musical purposes in his 1558 "Istitutioni harmoniche" and then trace the afterlife of Zarlino’s theory across a number of texts, including both music theory treatises and an epic poem. Chapter 4, finally, analyzes a late Cinquecento madrigal cycle—the three settings in Giaches de Wert’s "Ottavo libro de madrigali a cinque voci" (1586) from the “Armida” episode of Torquato Tasso’s "Gerusalemme liberata" (1581)—as a series of musical “stimuli” for listener responses patterned on the theoretical discussions studied in chapters 2 and 3. In its attention to the close-knit relationship between the expressive qualities of Wert’s music and the emotions they invite, this chapter follows the example of the ancient rhetorical tradition and its sixteenth-century inheritance, which emphasize the role of human psychology in determining the orator’s art.

Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

With the rising popularity of Mary's mother, St. Anne, Birth of the Virgin images proliferated at the beginning of the sixteenth century. However, these images have not been analyzed in great depth by any previous art historical scholarship. This thesis indicates the broader significance of these images by considering Birth of the Virgin compositions by Jan de Beer, Jacob Cornelisz van Oostsanen, and Adriaen van Overbeke. First, this thesis considers how these artists derived iconography from Robert Campin to connect Mary's nativity to the birth of her son. Thus, the artists invite the viewer to witness the significance and purity of both babies. Next, I argue that the sacrificial imagery of these panels cultivates a sacerdotal space, in which midwives become pseudo-priests and everyday objects are conflated with ritual material culture. These panels, which draw upon Old and New Testament covenants, present Mary as co-sacrifice, indicating a sixteenth-century expansion of the Virgin's co-redemptive role alongside Christ. The paintings emphasize the beginnings of the Virgin's life to explore the life-giving quality of mankind's redemption. Finally, I explore the viewership possibilities of these paintings for a lay audience, who could interpret their own experiences with birth through these images. Many of the objects in the artworks bear similarities not only to priestly objects but also to the material culture associated with birth. Overall, this thesis demonstrates the important role that Birth of the Virgin images played in interpreting the role of the Virgin Mary and her mother Anne in increasingly affective piety. The subject matter was a way to explore the doctrinal implications of Mary's sacrificial, life-giving power even as it invited viewers to frame their own day-to-day experiences with childbirth in more religious terms.

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This dissertation considers the possibility that, flowing from his broader theological framework and historical background, John Calvin’s eucharistic theology ‘re-invents’ a doctrine where the ‘substance’ (meaning) of the elements becomes the body and blood of Christ, and the believer who receives them is drawn, through understanding, into participation in Christ. The study begins with the historical setting and the second chapter sketches Calvin’s life. Chapter 3 considers epistemology and the impact of classical rhetoric on Calvin’s approach to knowledge. The following chapter considers Calvin’s understanding of our relationship with the Father, and of Christ as Mediator and as means of salvation. Chapter 5 considers the work of the Spirit in nurturing faith, a ‘higher knowledge’, through preparing us for knowledge of Christ and mediating our understanding of and participation in him. In this manner the Spirit acts as an instrument of revelation to enable us to participate in Christ. Chapters 6 and 7 move to consider Calvin’s writing on the Sacraments, their nature as sign and seals of the promise made in Christ, their substance and their role in our participation in Christ and, in the light of the duplex gratia, as gateways to participation. In Chapter 8 Calvin’s teaching is examined in terms of his opposition to the doctrine of transubstantiation, and his understanding of substance is considered. The possibility that Calvin ‘re-invents’ the doctrine is proposed. This is not to suggest that there is a conscious copying of the doctrine, but that through the process of forming his doctrine, using an alternate philosophical framework, Calvin’s understanding bears significant similarities to the doctrine he so deeply opposed. His key opposition to transubstantiation can then be seen to be to the materialist interpretations that impede the ability of the believer to lift his attention beyond the physical elements to the divine offer they represent. The study concludes by briefly considering the significance of Calvin’s ‘reinvention’ for contemporary understandings.

This thesis is the first attempt to provide an assessment of Scottish-Jacobean foreign relations within a European context in the years before 1603. Moreover, it represents the only cohesive study of the events that formed the foundation of the diplomatic policies and practices of the first ruler of the Three Kingdoms. Whilst extensive research has been conducted on the British and English aspects of James VI & I's diplomatic activities, very little work has been done on James's foreign policies prior to his accession to the English throne. James VI ruled Scotland for almost twenty years before he took on the additional role of King of England and Ireland. It was in his homeland that James developed and refined his diplomatic skills, and built the relationships with foreign powers that would continue throughout his life. James's pre-1603 relationships with Denmark-Norway, France, Spain, the Papacy, the German and Italian states, the Spanish Netherlands and the United Provinces all influenced his later ‘British' policies, and it is only through a study such as this that their effects can be fully understood. Through its broad scope and unique perspective, this thesis not only contributes to Scottish historiography, but also strengthens and updates our understanding of Jacobean diplomacy. Furthermore, it adds to European perspectives of international politics by re-integrating Scotland into the narrative of late sixteenth century European diplomatic history.

The aim of this thesis is to explore work as an idea and a practice for the construction and maintenance of differences and power relations, and to examine what the consequences were for the individual and society in early modern Sweden. The period saw an expansion of the state apparatus which created numerous new opportunities for employment. There also exists a body of literature from this period, in the form of instructions relating to work and households. The thesis draws both on these instructions and descriptions and on sources produced by the crown. The thesis shows that gender was a crucial factor for the organisation of work. Operating The service of the crown was characterised by two principal organisational forms: the household, and a precursor of a bureaucratic system. The household had its basis in the couple, and had a clear gendered division of power, the couple together constituted the management of the household, at the same time there was an element of male superordination. The other form was exclusively male and based on delegation of power within the organisation and on an attempt to formalise relations by written instructions. The majority of the jobs created were held by men. In crafts and administration, men took over a number of female areas of competence. In this process was occupational positions created for these men. Women’s opportunities to work were heavily affected by an idea of a female area of expertise, ‘womenfolk’s work’ which never become specialiced, but the investigation also shows that work created in the crowns households in positions of leadership created livelihoods for married adult women. Among employees that were young and unmarried the similarities between the genders were often more striking than the differences. Greater differences emerge from a comparison of the entire workforce of the crown, which shows women’s annual wages to be 75 per cent of those of men. Overall women had few opportunities to make careers and get well paid employments.