The reigns of the five Tudor monarchs were the context of vast changes in the nature of religion and government in England. This study explores the way in which these changes were reflected in sermons preached before the princes. Five preachers have been selected, one from each reign. All the sermons were delivered before the reigning monarch in English, and were printed and published shortly afterwards. The Introduction gives a general overview of the thesis. The subject matter of Chapter 1 is concerned with the funeral oration at the obsequies of Henry VII. Bishop John Fisher focuses his attention on the death of Henry, his contrition for his sins, and his reliance on God, through Holy Church, for the assurance of forgiveness. Chapter II examines a Good Friday sermon preached at Greenwich Palace before Henry VIII and Queen Anne Boleyn in 1536 by the King's confessor, John Longland. Longland promotes the beliefs and practises of Holy Church notwithstanding Henry's rejection of papal authority. In Chapter III, Hugh Latimer, the 'Prophet to the English,' preached a series of sermons before Edward VI in the Preaching Place at Whitehall during Lent 1549. Latimer's aim is to show Edward the path to true kingship and to promote justice in the realm. The sermons of Thomas Watson, Dean of Lincoln, before Queen Mary at Greenwich in Lent 1554 are the subject of Chapter IV. Watson supported the Queen in her efforts to return England to the true faith. Chapter V analyses the sermon John Whitgift, Dean of Lincoln, preached before Elizabeth I at Greenwich in Lent 1574. Whitgift refuted Catholic beliefs but reserved his greatest attacks for the radical Protestants.

This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.

While excavating a late fourth-century Roman merchantman off the coast of Yassiada, Turkey in 1967, archaeologists discovered another, more recent wreck lying across the stern of the Roman wreck. The artifact assemblage, dendrochronology, and carbon-14 dating indicated that the wreck was of Ottoman origin and dated to the late sixteenth-century. In 1982 and 1983, archaeologists under the auspices of the Institute of Nautical Archaeology at Texas A&M University returned to the site to fully excavate the vessel and raise its timbers for detailed study and conservation at the Bodrum Museum of Underwater Archaeology in Turkey. The purpose of this thesis is to analyze the remains of the hull by building upon previous preliminary reconstruction efforts to determine the ship's intended form and function. To accomplish this task, 1:10 scale drawings of the timbers were used to construct a half breadth model of the ship. By matching the nail holes on the recovered planking to the preserved remains of the ship's framing, it was possible to assess the hull's contours through transfer to a lines drawing. The resulting drawings show a moderately sized vessel with a wide flat bottom. In order to place the reconstruction into perspective, archaeological remains of similar shipwrecks and period iconography were consulted in order to suggest the ship's type and function. Four shipwrecks were found that have similar construction features to those on the Ottoman wreck. Three of the wrecks had the same unusual knuckle joints used in securing futtocks to frames that the Ottoman wreck has, shedding light on design and construction philosophy of ships in the eastern Mediterranean. The preliminary analysis of period iconography in conjunction with the remains of similar shipwrecks indicated that the vessel was a cargo carrier that may have ties to the Ottoman navy. Four types of ships from the same general period, the felluca, polacre, and shebek were found to have similar design features to the Ottoman wreck, but the closest iconographic parallel was the saique, which was a two-masted cargo carrier found in the Black Sea and the west coast of Turkey between the sixteenth and eighteenth centuries.

Abstract Roxana is Defoe¡¦s last novel and his only one that ends in tragedy. In the eighteenth century when the idea of realism prevailed, the novel was a reflection of social reality. Unlike a romance in which love and imaginary adventures are depicted, a novel depicts ordinary people and their ordinary life. Based on this idea of realism, Defoe¡¦s Roxana touches its readers. This novel is mainly about how the heroine Roxana, a deserted woman, struggles to make money and how her mental state changes. Yet reading through the story, what readers learn is not only Roxana¡¦s tragedy in fighting through her life, but also, beyond that, the relationship between a woman and the society she lives in. Under the control of patriarchy, a woman, whether reliant on a man or independent, is doomed to be a loser. In order to give as full as possible a perspective about the process of Roxana¡¦s making money, I put many issues in the thesis, including gender, capital, marriage, morality and psychology. This thesis falls into six parts. The introduction gives a general idea of the rise of the novel in the eighteenth century and of Defoe¡¦s life. The first chapter deals with Roxana¡¦s marriage, exploring the reasons for her refusal of marriage and the possible results she may have to face if she remains unmarried. In the second chapter, I will discuss Roxana¡¦s business of prostitution, focusing on how she succeeds in making money by her body and beauty. In Chapter Three, I attempt to analyze the two Roxanas¡Xthe public Roxana and the private Roxana¡Xto see how she takes advantage of disguise in presenting a public self but still possesses a guilty feeling when she is alone. Here, I would like to apply Bakhtin¡¦s two terms ¡§centrifugal¡¨ and ¡§centripetal¡¨ to Roxana¡¦s public self and private self respectively. In the last chapter, I intend to use Freud¡¦s psycho-analysis to explain the three characters¡XRoxana, Amy and Susan¡Xand conclude with the unbalanced mental state that brings about Roxana¡¦s psychological chaos.

No description available.

Not available / text

published_or_final_version / Architecture / Master / Master of Philosophy

published_or_final_version / Fine Arts / Master / Master of Philosophy

published_or_final_version / History / Master / Master of Philosophy

No description available.