This thesis takes as its object of study a certain strand of Early Modern English writing characterised by its cornucopian invention, immethodical structure, and creatively exuberant, often chaotic, means of expression. It takes as its point of departure the Erasmian theory of ‘copia' (rhetorical abundance), expanding upon it freely in order to formulate new and independent notions of copious vernacular writing as it is practised in 16th- and 17th-century contexts. Throughout I argue for the continuity and pervasiveness of the pursuit of linguistic plenitude, in contrast to a prevailing belief that the outpouring of 'words' and 'things' started to dissipate in the transition from one century (16th) to the next (17th). The writers to be discussed are Thomas Nashe, Robert Burton, John Taylor the ‘Water-Poet', and Sir Thomas Urquhart. Each of the genres in which these writers operate–prose-poetry, the essay, the pamphlet, and the universal language–emerge either toward the end of the 16th century or during the course of the 17th century, and so can be said to take copious writing in new and experimental directions not fully accounted for in the current scholarship. My contribution to the literature lies principally in its focus on the emergence of these literary forms in an Early Modern English context, with an emphasis on the role played by copiousness of expression in their stylistic development and how they in turn develop the practice of copia.

Cette thèse étudie les évolutions du marché du crédit de long terme (les censos) dans l'Espagne moderne. Après une description des acteurs et du fonctionnement de ces marchés dans le premier chapitre, le deuxième chapitre s'intéresse aux conséquences de la fragmentation juridictionnelle sur l'intégration du marché du crédit. Ensuite, le troisième chapitre étudie le fonctionnement et la gouvernance d'un ordre religieux en particulier et met en évidence le rôle d'intégration joué par les institutions ecclésiastiques. Enfin, le dernier chapitre examine la répression financière exercée par la Couronne à la fin du XVIIIe siècle et son rôle déterminant dans le retrait des institutions religieuses des marchés du crédit et la contraction de l'offre de crédit qui s'en est suivie. / This project analyses the evolutions of long-term credit markets (the censos) in eraly modern Spain. After a description of the actors and the functioning of these markets in the first chapter, the second chapter focuses on the consequences of jurisdictional fragmentation on credit market integration. Then, the third chapter examines the functioning and the economic governance of a single religious order and sheds light on the integration role performed by ecclesiastical institutions. The last chapter studies the financial repression implemented by the Crown in the late eighteenth century and its decisive role in the withdrawal of religious institutions from the credit market and the subsequent credit contraction.

In his most popular prose work, Mary Magdalens Funeral Teares (1591), English Jesuit Robert Southwell adapts the Mary Magdalene tradition by incorporating the meditative practices of St. Ignatius Loyola coupled with the Petrarchan language of poetry. Thus, he creates a prose work that ministered to Catholic souls, appealed to Protestant audiences, and initiated the literature of tears in England. Southwell readapts the traditional image of Mary Magdalene for a Catholic Early Modern audience by utilizing the techniques of Jesuit meditation, which later flourished in the weeper texts of Richard Crashaw and George Herbert. His vividly imagined scenes also employ the Petrarchan and Ovidian language of longing and absence and coincide with both traditional and mystic early church writers such as Bernard and Augustine. Through this combination, Southwell’s Marie Magdalens Funeral Teares resonated with Catholics deprived of both ministry and the presence of Christ in the Eucharist. These contributions solidify Southwell’s place as a pivotal figure in the religious and literary contexts of Early Modern England.

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Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.

The present thesis considers the allusive and narrative function of fate and its associated concepts of providence, free will, necessity, and natural law in Paradise Lost. It argues that the narrative function of these concepts is shaped by Milton's allusions to classical epic, and assesses their impact on the Christian theology of the poem. It identifies unnoted allusions to well-known epic models (Homer, Vergil, Lucan), and examines how Lucretius' account of natural laws and post-Vergilian representations of epic aftermath influence Milton's own depiction of transgression and its aftermath in Paradise Lost. Chapter 1 considers Satan and other fallen angels' definition of fate as a materialist alternative for the personal rule of the Father. It traces several allusions to fate in cosmological and ethical settings, in Lucretius, Vergil, Lucan, and Statius, and analyses how these allusions interact with the Hesiodic mythical material in the opening books of Milton's epic. Chapter 2 focuses on a pattern of previously unnoted allusions to Lucretius' De Rerum Natura in the narrative of the Fall, culminating in Book 9. It argues that in his temptation of Eve, Milton's Satan subverts Lucretian teachings about the boundaries governing the physical universe as he persuades Eve to transgress her natural state in Eden. Chapter 3 discusses the appearance of the Father in an allusive epic council scene in Book 3. In the dialogue between Father and Son, I suggest, Milton evokes negotiations between the Homeric and Vergilian deities, depicting his God as surpassing his pagan epic counterparts who can only delay the fate of mortals, but not change them. Chapter 4 suggests that Milton's depiction of the aftermath of the Fall is indebted to post-Vergilian epic narratives of 'aftermath'. The final Books of Paradise Lost and the portrayal of Adam and Eve's moral freedom as they leave paradise, with providence their guide, should be read, I posit, against the backdrop of scenes and imagery from Lucan's Bellum Civile and Statius' Thebaid.

This study examines the role of the Austin Friars in pre-Reformation English society, as distinct both from the Austin Friars of Europe and from other English mendicant orders. By examining how the Austins formulated their origins story in a distinctly English context, this thesis argues that the hagiographical writings of the Austin Friars regarding Augustine of Hippo, whom they claimed as their putative founder, had profound consequences for their religious platform. As their definition of Augustine's religious life was less restrictive than that of the European Austin Friars and did not look to a recent, charismatic leader, such as Dominic or Francis, the English Austin Friars developed a religious adaptability visible in their pastoral, theological, and secular activity. This flexibility contributed to their durability by allowing them to adapt to religious needs as they arose rather than being constrained to what had been validated by their heritage. The behaviour of these friars can be characterised foremost by their ceaseless advancement of the interests of their own order through their creation of a network of influence and the manoeuvring of their confrères into socially and economically expedient positions. Given the propensity of the Austin Friars towards reform, this study seeks to understand its place within and interaction with English society, both religious and secular, in an effort to reconstruct the religious culture of this order. It therefore investigates their interaction with the laity and patronage, with heresy and reform, and with secular powers. It emphasises, above all, the distinctiveness of the English Austin Friars both from other mendicant orders and from the European Austin Friars, whose rigid interpretations of the religious example of Augustine led them to a strict demarcation of the Augustinian life as eremitical in nature and to hostile relations with the Augustinian Canons. Ultimately, this thesis interrogates the significance of being an Austin Friar in fifteenth- or sixteenth-century England and their role in the religious landscape, exploring the exceptional variability to their behaviour and their ability to take on accepted forms of behaviour.

By examining five types of astronomical and celestial phenomena—comets, constellations, the zodiac, planets, and the music of the spheres—this thesis posits not only that early modern dramatists were influenced by established and emerging natural philosophy as habits of thought that manifested in their writing, but also that astronomical phenomena operate within the drama, performance, and in the theatre as elements for creating and developing a distinctly spatial dramaturgy. Using theories from the spatial turn, this thesis maps the positions, edges, disturbances, and motions of celestial properties within the imaginary and physical space of early modern drama and theatre. It argues that the case study plays examined within this thesis demonstrate a period-wide engagement, rather than an authorial-, company-, theatre-, or even genre-specific practice. Dramatists developed techniques using astronomical phenomena as dramatic methods that occasionally underscored early modern astronomical thought. However, in many cases constructed plots, characters, visual and sound effects, and movements transgressed astronomical expectations. Dramatists broke down constellations, inserted new stars in the heavens, created zodiacal females, launched pyrotechnical comets, moved planets unexpectedly across the stage, and played (and refrained from playing) celestial "music" for the audience. Recognising composite and often contradictory astronomical constructions within the drama, this thesis moves the critical discussion away from an intellectual history of natural philosophy and gravitates toward an active astronomical dramaturgy.

Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern moral philosophy, scepticism, and material and textual culture. The second part of my thesis concentrates on Shakespeare’s Cymbeline (1609-10) and The Tempest (1611), John Webster’s The White Devil (1612), and Thomas Heywood’s first three Age plays (1611-13). These spectacular plays are all written and performed within the years 1610-13, a period in which the changes, challenges, and developments in both stage technology and moral philosophy are at their peak. I set these plays in the context of the wider historical moment, showing that the idiosyncrasy of their “strange” stagecraft reflects the period’s interest in materialisation and its attendant moral anxieties. This thesis implicitly challenges some of the conclusions of repertory studies, which sometimes threatens to hierarchise early modern theatre companies by seeing repertories as indications of audience taste and making too strong a divide between, say, “elite” indoor and “citizen” outdoor playhouses. It is also aligned with recent revisionist considerations of spectacle, and I elide divisions in criticism between interest in original performance conditions, close textual analysis, or historical-contextual readings. I present “strangeness” as a model for appreciating the distinct aesthetic of these plays, by reading them as part of their cultural milieu and the material conditions of their original performance.

This thesis deals with the intellectual heritage of Rabbi Judah Loew ben Bezalel, the Maharal of Prague and with his affiliation to the Kabbalah. The Kabbalah sprang up amongst Jewish scholars of 12th century Spain and reached its apex in the composition of the Zohar. This study shows the ways the Maharal used the Zohar and to what end. First chapter deals with the life and writings of the Maharal. The second summarises previous attempts to describe the Maharal's affinity for Jewish mysticism. The third chapter describes how the Zohar was written. It includes a textological comparison, which aims to find which edition or group of manuscripts of the Zohar the Maharal used. It also makes note of the special form of zoharic Aramaic that is present in the Maharal's writings. The fourth chapter raises the question of halakhic authority of the Zohar in the 15th and 16th centuries. Three main chapters of this thesis provide analysis and commentary of chosen zoharic texts (Zohar III,152a, Zohar III,40a, Zohar I,18a a Zohar I,33b) quoted by the Maharal in his writings and with their theological reflection. Zohar III,152a speaks about different layers of meaning implied in the text of the Torah. This chapter deals with the basic development of Jewish hermeneutics and attempts to find Maharal's place in it....