The `Tudor revival' of late nineteenth and early twentieth-century England saw unprecedented enthusiasm for the study and performance of English Renaissance music. The revival, which emphasized choral music, was characterized by a rich and interconnected fabric of events including manuscript discoveries, the publication of sundry new scholarly and performing editions, the founding of ensembles who specialized in early music, and an overall increase in the study and performance of Tudor music. Narratives of the Tudor revival have traditionally focused on the role of institutions and ensembles in London, thereby neglecting the important work that occurred elsewhere in the country. In order to more adequately represent the full extent of the movement, this study examines the previously unrecognized role of the institutions and ensembles of Oxford, demonstrating the many ways in which the foundation colleges, student societies, and civic ensembles and organizations helped to bring about the Tudor revival. The appendix contains previously unpublished documents from the Oriel College Archives in Oxford, primarily consisting of letters to and from Edmund Fellowes between 1897 and 1925.

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The works of Mary Wollstonecraft have been largely utilized in the twentieth and twenty-first centuries within the domain of feminist studies. They were influential throughout the 'feminist movement' of the 1960s and 1970s and Wollstonecraft is routinely given the title of 'mother' of feminism. One result of her works being classified as important feminist texts is the elision of the religious element in her works. Moreover, recent scholarship has drawn attention to the central importance of religion in eighteenth century British discourse. This thesis will primarily argue that Wollstonecraft was heavily influenced by religion, and that her writings were conceived in response to a profoundly theologico-political culture. This influence of religion has generally been overlooked by researchers and this thesis will aim to redress this absence. Four of Wollstonecraft's works - all produced within a 'similar' political climate and within a concise time period - are utilized to show that religion was a foundational element within Wollstonecraft's thought and arguments. This thesis shows that Wollstonecraft was not so much a 'feminist' thinker, but a unique intellectual determined to show that the inferior position of women went against 'God's will', teachings and the equality He had ascribed to both men and women during Creation.

The celebrated Sherpas of Himalayan mountaineering, who lived in the rugged high-altitude environment of the Everest area of Nepal, lacked Western style medical services and so iconic New Zealander, Sir Edmund Hillary, 'hero' of Everest, built them a small hospital in 1966. He administered Khunde Hospital through the Himalayan Trust, but with substantial support, since the late-1970s, from the Sir Edmund Hillary Foundation in Canada. Overseas medical volunteers assisted by local staff provided a range of outpatient and inpatient, curative and preventive services. The history of Khunde Hospital, therefore, provides a case study for the introduction of modern medicine, as Sherpas referred to Western or biomedicine, and for the implementation of an overseas aid project. In my analysis I have moved away from a binary, oppositional examination of a cross-cultural encounter and have situated Khunde Hospital in a conceptual device of 'worlds'. I argue that the hospital existed and operated simultaneously within multiple separate yet interconnected worlds, but do not privilege one discourse over another. These worlds work beyond culture, encompassing institutions, political structures and knowledge communities and were physical, social and intellectual spaces within which there were rules and norms of behaviour that structured action. In order to explore the histories of Khunde Hospital I set it within four distinct but overlapping worlds: that of Sir Edmund Hillary, the Sherpa, Western medicine and international aid. These are worlds that I have identified as being important for the questions I am looking at. My central discussion is the ongoing encounter between Sherpa beliefs and practices about sickness and modern medicine, particularly looking at the individual patient�s use and non-use of the hospital and how staff there responded. The response was neither a one-way diffusion of Western medical practice, nor a collision between the spirit-suffused system of the Sherpa and scientific biomedicine. People used the hospital for some things but not others, based on their perception as to whether the hospital was the effective, appropriate option to take. Over the years, the hospital and community became used to each other in a relationship that was in practice a coexistence of difference. Each acknowledged and could incorporate aspects of the other�s beliefs and practices when dealing with a person�s sickness, but remained separate. Using the conceptual device of worlds, however, suggests the need for this example of the introduction and spread of Western medicine to be grounded in a consideration of Hillary�s particular form of aid, the shifting discourse of international medical aid between the 1960s and the 1990s and the unique world of the Sherpa of Khumbu. All of these worlds influenced the provision of health care at and from Khunde Hospital in different ways, sometimes separately but often simultaneously, and at some times and for some issues more than others. People, place and relationships often had as much influence as - and sometimes more than - the medicine. If the key to understanding Khunde Hospital is the relationship between Sherpas and Hillary and the respect that began in a partnership on the mountains in the 1950s, then the multiple worlds of Khunde Hospital underscore the complexities of implementing Sherpa requests to build a hospital in their rugged home near the world�s highest mountain.

Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.

In the discussions about contemporary celebrities, the femme fatale, the bad boy, the child star, and the wannabe have become accepted and even celebrated figures. In the late eighteenth and early nineteenth centuries, however, actors and actresses who challenged acceptable strategies for celebrity behavior were often punished by exile, debt, disgrace, and humiliation. Some performers even faced a veritable textual and historical oblivion. Illegitimate Celebrity considers the careers of Dorothy Jordan, William Henry West Betty, Edmund Kean, and Margaret Agnes Bunn, and offers a historical genealogy of "illegitimate" performers who dared to break with social convention and struggled to define and redefine themselves according to strict social codes that dictated their behavior both onstage and off. By examining celebrity productions, portraits, caricatures, and performances as elements to producing celebrity, I demonstrate how the audiences used these public figures to create complex narratives regarding class, femininity, masculinity, marriage, nationalism, among others. Ultimately, the study of illegitimate celebrity reveals the role of celebrity in shaping these discursive structures and provides an important history for modern narratives regarding the role of celebrity in society. / McAnulty College and Graduate School of Liberal Arts; / English / PhD; / Dissertation;

Book Six of The Faerie Queene deals with the complexities of courtesy in a socially changing world. Calidore, the protagonist of Book Six, sets out to defeat the Blatant Beast, the chief enemy of courtesy, but abandons his quest midway through the book in order to live the shepherds’ life. Despite the ethical ambiguity associated with Calidore’s abandoning his quest, this pastoral setting should enable him to deepen his understanding of the nature and practice of courtesy. However, Calidore is unable to grow, and the poet essentially gives up on his own poetic quest.

This thesis presents an analysis of Edmund Burke's place in intellectual history by examining his commentary on the French Revolution as well as his role in the Enlightenment itself. In doing so, it brings to bear the previously unexplored ideas of the twentieth-century historian Roy Porter. The thesis proposes that Burke's indictment of French philosophy as the cause of the French Revolution created enduring historiographic connotations between radicalism and the notion of enlightenment. Consequently, British thinkers of the eighteenth-century were invariably dismissed as conservative or reactionary and therefore unworthy to be regarded as enlightened figures. Porter's reconsideration of the British Enlightenment reveals Burke to be a staunch defender of hard-won enlightened values which British society had already long enjoyed.<p>The source material is, for the most part, primary. For Edmund Burke, his correspondence and his Reflections on the Revolution in France. For Roy Porter, his most relevant essays, journal articles and monographs.

This thesis presents an analysis of Edmund Burke's place in intellectual history by examining his commentary on the French Revolution as well as his role in the Enlightenment itself. In doing so, it brings to bear the previously unexplored ideas of the twentieth-century historian Roy Porter. The thesis proposes that Burke's indictment of French philosophy as the cause of the French Revolution created enduring historiographic connotations between radicalism and the notion of enlightenment. Consequently, British thinkers of the eighteenth-century were invariably dismissed as conservative or reactionary and therefore unworthy to be regarded as enlightened figures. Porter's reconsideration of the British Enlightenment reveals Burke to be a staunch defender of hard-won enlightened values which British society had already long enjoyed.<p>The source material is, for the most part, primary. For Edmund Burke, his correspondence and his Reflections on the Revolution in France. For Roy Porter, his most relevant essays, journal articles and monographs.