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Uniting literary analysis, theories of affect from the sciences and humanities, and an archival-based account of Tudor history, this project examines how literature reflects and constructs the emotional dynamics of life in the Renaissance courtly sphere—with hopes of showing why emotionality, as a primary mode through which historical subjects embody and engage their world, should be adopted as a fundamental lens of social and textual analysis. Spanning the 16th Century, chapters on John Skelton and Henrician satire, Henry Howard, Earl of Surrey, Sir Philip Sidney and Elizabethan pageantry, and the Essex circle demonstrate how the dynamics of disgust, envy, frustration, and dread guide literary production in the early modern court. By aligning Renaissance discourses of emotion with current trends in empirical and theoretical research, the study provides a new context for an "affective" analysis of literature. / text

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Sixteenth-century England witnessed both unprecedented generic experimentation in the recording of spectacle and a shift in strategies of sovereign representation and subject formation: it is the central objective of this dissertation to argue for the reciprocal implication of these two phenomena. Henry VII, Henry VIII, and Elizabeth I used performance to legitimate their authority. Aristocratic and civic identities, in turn, were modelled on sovereign identity, which was disseminated through narratives in civic entries, tournaments, public progresses, and courtly pageantry. This dissertation investigates the relationship between ritualized social dramas (a marriage, birth, and coronation) and the mechanisms behind the recording and dissemination of these performances in courtly and civic texts in England from 1501 to 1559. Focussing on The Receyt of the Ladie Kateryne (London 1501), The Great Tournament Roll of Westminster (Westminster 1511), and The Quenes Maiesties Passage (London 1559), this project attempts to understand the role performance texts played in developing conceptions of social identity. Specifically, this dissertation seeks to demonstrate that a number of new hybrid genres emerged in Tudor England to record ritualized social dramas. I argue that each of the texts under scrutiny stands out as a unique record of performance as their authors use unprecedented narrative strategies to invest their accounts with “liveness,” situating the reader as a “spectator” of the sovereign within a performative context. An important objective of these hybrid genres was to control the audience/reader’s response to the symbology of performance. Each monarch attempted to influence social and political identities through courtly performance; however, the challenges of governing differed among reigns. While Henry VII struggled against charges of illegitimacy, Henry VIII had to consolidate the loyalties of his nobles, and Elizabeth I came to the throne amidst religious turmoil and anxieties about female rule. Strategies for the performance and recording of sovereign authority shifted, therefore, to account for the changes in England’s political structure. By examining how performance is textualized in these new genres, I attempt to expose the tensions animating the relationships among the monarch, his/her nobility, and the civic authorities. / Thesis (Ph.D, English) -- Queen's University, 2009-02-25 22:42:18.684

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In the sixteenth century, Martin Luther's Protestant Reformation generated multiple reform movements and political transformations in Europe. Within this general period of reform, political and cultural changes from the Tudor era (1485-1603) created a separate English Reformation. The English Reformation evolved from the different agendas of the early Tudor monarchs and occurred in two distinct waves: an initial, more moderate Henrician Reformation and a later, more complete Edwardian Reformation. Henry VIII and Edward VI's attempts to redefine monarchy through a new State and Church identity drove English church reform during this period, giving these religious shifts distinct political roots. Cultural artifacts were prominent indicators of these differing political goals, and Henry VIII and Edward VI adjusted and removed images and texts according to their propaganda methods. These royal manipulations of culture are well-documented, but historians have overlooked important components in the communication process. Lay responses to imagery changes ranging from compliance to rebellion demonstrate the complex relationship of images, monarchy, and reform. Examining images' function as propaganda with questions of intent, reception, and comprehension in royal communication is imperative for assessing the impact of royal messages on Tudor culture. Analyzing Tudor art as a form of political communication that disseminated idealized political representation reveals a strong visual discourse between the King and the English people. Images held key powers within royal discourse to create and disseminate propaganda of a kingship.