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���In this thesis, I use modern concepts of feminism, gender performativity, and psychoanalysis as a means to understand female characters and authors of Renaissance England in a new way. In my first article, I analyze various texts and performances of Queen Elizabeth I, as well as texts of Renaissance female authors who are now slowly entering our modern canon ��� notably, Aemilia Lanyer. The second article is a feminist investigation of Britomart from Spenser's The Faerie Queene. In both pieces, I argue that these women (historical and fictional) broaden the definition of queer, and ultimately of feminism, as a whole. The goal of this thesis is to utilize published and visual records of early modern women writers and fictional characters, and apply a theoretical lens to such texts, in order to analyze these texts in a multi-faceted, contemporary fashion and to establish new modes of thought within the discourse of gender performativity, feminisms and psychoanalytical theory. / Graduation date: 2013

This dissertation argues that in Renaissance discourses of the body the body is progressively evacuated of the spirit, as we move from texts of the late Medieval period to texts of the Jacobean period. Where New Historicists have suggested that the practice of “self-fashioning,” which dictates behaviour, speech and dress, takes place in the Renaissance, I argue that there was a material self-fashioning of the body occurring simultaneously. Such corporeal fashioning, motivated by desire for physical improvement, frustrates the extent to which the soul shapes the body. My Introduction lays theoretical and historical groundwork, situating the body/soul relationship in relation to Christian theology, Senecan-Stoicism, Epicureanism and philosophical materialism. Discourses of artistic creation, informed by neo-Platonism, also influence corporeal fashioning in that the most radical bodily modifications are imagined through literature, where artificers are often privileged as creators. Chapter One examines “The Miracle of the Black Leg,” a transplant, by the doctor-Saints Cosmas and Damian, of a Moor’s black leg to a white Sacristan, whose gangrenous leg is amputated. In written and pictorial representations Cosmas and Damian, initially figured as Saints, are later presented as doctors who perform a medical procedure. Alongside the doctors’ increasing agency, the black leg itself, inflected by Renaissance notions of Moors and Moorishness, troubles the soul’s immanence in the body. Chapter Two examines Elizabeth I’s practices of bodily fashioning through her wigs, dentures and cosmetics. I argue that Elizabeth’s symbolic value, which includes components of monarchical rule, as well as attitudes toward female beauty, is always already pre-empted by her body. In Book III of The Faerie Queene, moreover, Edmund Spenser writes an alternative history of England through Britomart’s body to provide an heir to Elizabeth’s otherwise heirless throne. Chapters Three and Four perform close readings of Book II of The Faerie Queene, Thomas Tomkis’s Lingua, Thomas Middleton’s The Maiden’s Tragedy and Revenger’s Tragedy, and John Webster’s The Duchess of Malfi. I argue that both the allegorical and theatrical modes demand a level of materialism that paradoxically makes the body the centre of attention, and anticipates Cartesian mechanistic dualism. / Thesis (Ph.D, English) -- Queen's University, 2008-09-25 22:59:31.67

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The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.

Early modern English Catholic eschatology, the belief that the present was the last age and an associated concern with mankind’s destiny, has been overlooked in the historiography. Historians have established that early modern Protestants had an eschatological understanding of the present. This thesis seeks to balance the picture and the sources indicate that there was an early modern English Catholic counter narrative. This thesis suggests that the Catholic eschatological understanding of contemporary events affected political action. It investigates early modern English Catholic eschatology in the context of proscription and persecution of Catholicism between 1558 and 1603. Devotional eschatology was the corner stone of individual Catholic eschatology and placed earthly life in an apocalyptic time-frame. Catholic devotional works challenged the regime and questioned Protestantism. Devotional eschatology is suggestive of a worldview which expected an impending apocalypse but there was a reluctance to date the End. With an eschatological outlook normalised by daily devotional eschatology the Reformation and contemporary events were interpreted apocalyptically. An apocalyptic understanding of the break with Rome was not exclusively Protestant. Indeed, the identification of Antichrist was not just a Protestant concern but rather the linchpin of Reformation debates between Catholics and Protestants. Some identified Elizabeth as Jezebel, the Whore of Babylon. The Bull of Excommunication of 1570 and its language provided papal authority for identifications of Elizabeth as the Whore. The execution of Mary Queen of Scots was a flashpoint which enabled previously hidden ideas to burst into public discourse. This was dangerous as eschatology and apocalypticism was a language of political action. An eschatological understanding of contemporary events encouraged conspiracy. The divine plan required human agents. Catholic prophecy and conspiracy show that eschatology did not just affect how the future was thought about but also had implications for the present. This thesis raises questions about Catholic loyalism which other scholars have also begun to challenge. Yet attempts to depose or murder the monarch was not the only response which could be adopted. Belief that one was living in the End also supported what this thesis terms ‘militant passivity’. Martyrs understood their suffering as a form of eschatological agency which revealed and confirmed the identities of the Antichrist and the Whore. The Book of the Apocalypse promised that they would be rewarded at God’s approaching Judgement and the debates of the Reformation would be settled by the ultimate Judge. As martyrs came to symbolise the English Catholic community, it came to understand itself eschatologically. This thesis argues that acknowledging the eschatological dimensions of Catholic perception and action helps us to re-think the nature of early modern English Catholicism.