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The purpose of this thesis is to demonstrate the ways in which the core-periphery relationships of English and Dutch colonial ventures in North America were impacted by local events in New Amsterdam-New York, a Dutch colony that was lost to the English following the Second Anglo-Dutch War in 1664. Increased peripheralization of New Amsterdam-New York negated centralizing efforts of the Dutch and effectively ended the potential for Dutch geopolitical power in North America. While the Atlantic World has traditionally been understood as a framework for understanding international phenomenon and global processes, this thesis suggests that it was impacted by multiple geopolitical scales simultaneously. Placing New Amsterdam-New York’s colonial history in a framework of evolving core-periphery relationships and highlighting the central role of local social, political, and spatial processes provides a foundation for understanding the outbreak of ethnic hostilities in the late 1680s. I argue that the increasing importance of the local is demonstrated by the attention given to social, political, and spatial ordinances that sought not to control “the English” or “the Dutch”, but to control the actions and actors of individual streets, wards, and districts.

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This dissertation explores how late medieval and early modern English culture understood the possibilities of experience inherent within our dying moments. I argue that, rather than approaching the moment of death as exclusively terrible, unbearable, or meaningless, as some literary scholars have claimed, many could instead hope to find within such moments the opportunity for what Erasmus called “glimmerings”—new revelations, actions, and experiences of the world. I explore how the drama of Shakespeare and Marlowe investigates both the promises and illusions of the glimmering worlds cast up in one’s dying moments. This project draws on the thought of Hannah Arendt to elucidate the actions, forms of life, and worlds that can be undertaken and sustained in the circumstances of dying. In Chapter One, I uncover the late medieval roots of an association between dying moments and worldly awareness, expressed in fifteenth-century English texts such as Nicholas Love’s Mirror of the Blessed Life of Christ, Thomas Hoccleve’s Learn to Die, the morality play The Castle of Perseverance, and Desiderius Erasmus’s Preparation to Death. My second chapter argues that sixteenth-century ars moriendi texts such as Thomas Lupset’s Way of Dying Well, Thomas Becon’s Sick Man’s Salve, The Book of Common Prayer’s “Order for the Burial of the Dead,” and John Foxe’s Acts and Monuments each provide strategies of dying that preserve both self and world from the deteriorating force of mortality. Chapter Three moves from theological to dramatic inquiries into the moment of death, examining how Marlowe’s tragedies The Jew of Malta and Doctor Faustus scrutinize the risks of dying in conditions of exposure, in contrast with the sheltering protections of dying in a little room. My fourth chapter takes up Shakespearean tragedy to illustrate how King Lear evaluates and dramatizes the consequences of William Perkins’ Salve for a Sick Man, which contends that we are unable to undertake meaningful action in our final moments. In my last chapter, I show how Shakespeare’s late plays, Pericles and The Winter’s Tale, consider whether, in the presence of death, one can claim flourishing life and feel at home in the world.

This dissertation examines social mobility as treated in stage comedies and litigation records circa 1603-1625. It argues that, in a historical context where rising in the world often awakened disapproval, stage representations of advantageous marriages negotiated cultural debates concerning socioeconomic change, political hierarchy, and individual aspirations. To understand the diverse meanings of social advancement, this study traces the discursive and narrative resemblances between two sets of texts: nearly two hundred Star Chamber cases that contested marital status incompatibility, and plays by Middleton, Jonson, Chapman, and their peers that dramatize intense competitions for marriages that could elevate characters in wealth and prestige. Pierre Bourdieu provides methods for approaching the multi-dimensional early modern social field with its many forms of status, and Frederic Jameson offers ways to consider the relation of fictional narratives to social and ideological problems. Using these theorists to align the two sets of texts, this dissertation reveals how London's theaters offered complex fantasies of achievement that balanced individual ambition against prevailing assumptions about gender, status, and social order. The Introduction traces relevant historical contexts, while Chapter One outlines the polyphonic features of the texts under investigation and culminates in an analysis of George Chapman's use of multiple temporal schemes in The Widow's Tears to represent a fantasy marriage as both an upstart's rise and a dynastic renewal. Chapter Two examines legal records to reveal how victims of alleged courtship frauds evoked a broad cultural script that represented social exogamy as a threat to the ruling elite. Chapters Three and Four focus on masculinity, arguing that both male defendants and playwrights like Thomas Middleton and Lording Barry responded to the cultural contradictions of social mobility by privileging alternative metrics of masculine worth and alternative trajectories of advancement. Chapter Five shows how female defendants positively rearticulated available negative stereotypes about women, especially servants, marrying up; in similar fashion Ben Jonson's The New Inn portrays a maidservant's engagement to an aristocrat as a triumph of merit. Finally, the Appendix examines one extensive case in which dozens of witnesses variously interpreted the scandalous elopement--or kidnapping--of a rich London woman. / 2019-08-01T00:00:00Z

This reviewed book offers a fascinating series of inquiries into the objects, architecture, and spaces in home interiors in early modern Italy, particularly in Florence, Venice, and Bologna.

The critical discussion of metatheatre has historically connected a series of reflexive dramatic strategies - like soliloquy, chorus, dumb show, the-play-within-the-play, prologue, and epilogue - and assumed that because these tropes all involve the play's apparent awareness of its own theatrical nature they all have similar dramaturgical functions. This dissertation, by contrast, shows that the efficacy derived from metatheatrical moments that overtly reference theatrical production is better understood in the context of restaged non-theatrical cultural performances. Restaged moments of both theatrical and non-theatrical social ritual produce layers of performance that allow the play to create representational space capable of circumventing traditional power structures. The Reflexive Scaffold argues that this relationship between metatheatricality and restaged moments of culture is central to interrogating the complexities of dramatic genre on the English Renaissance stage. This project asserts that a great deal of early modern English drama begins to experiment with staged moments of cultural performance: social, cultural, and religious events, which have distinct ramifications and efficacy both for the audience and in the world of the play. However, while these restaged social rituals become focal points within a given narrative, their function is determined by the genre of the play in which they appear. A play or a feast inserted into a comic narrative creates a very different sort of efficacy within the world of the play from that which is created when the same moment appears in a tragic narrative. These various types of performance give us a glimpse into the ways that early modern English dramatists understood the relationship between their works and the audiences who viewed them. I argue that the presentation and reinterpretation of early modern social ritual is utilized by many of the major playwrights of the English Renaissance, including Shakespeare, Christopher Marlowe, Thomas Kyd, John Marston, Thomas Middleton, and Philip Massinger to redefine genre. These moments of reflexivity construct efficacy that, depending on the genre in which they appear, runs the gambit from reinforcing social order to directly critiquing the dominant cultural discourse.

In 1639, a law prohibiting women any head covering; veil, mantilla, manto for example, is promulgated for the fifth time in the Iberian Peninsula under the penalty of losing the garment, and subsequently incurring more severe punishments. Regardless of these edicts this social practice continued. My dissertation investigates the cultural representation of these covered women (tapadas) in Spain and the New World in a vast array of early modern literary, historical and legal documents (plays, prose, and regal laws, etc.). Overall, critics associate the use of the veil in the Spanish territories with religious tendencies and overlook the social component of women using the veil to simply explain it as a mere fashion practice. In my dissertation, I argue that it is more than just a garment; the veil was used by women to make political statements, thereby challenging the restrictive gender and identity boundaries of their epoch. A critical analysis of early modern historical and legal peninsular texts and close-readings of Golden Age literary works, together with colonial cultural productions, allow me to identify patterns in how the tapadas were represented both artistically and culturally. Accordingly, my project attempts to reassess the significance of the tapadas in Hispanic culture for 350 years and demonstrate how their resilience to stop using the veil publicly is symptomatic of the absolutist monarchy inefficiencies in imposing social control. I move away from the tendency to investigate works including tapadas exclusively, and I conclude by reconstructing more accurately their cultural impact on the social dynamics in Spain as well as the New World.

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