Thesis (Ph. D.)--State University of New York at Binghamton, Art History Department, 2000. / Includes bibliographical references (leaves 255-272).

This thesis challenges the notion that little light can be shed on Exeter’s ‘middling’ and ‘poorer’ sorts in the period 1550-1610, defined as ‘the chorus’ by Wallace MacCaffrey in his book Exeter 1540-1640. It selects data from mid- to late- sixteenth and early seventeenth century urban archives, defines the strengths and weaknesses of that data and captures it in a digitised database. It uses this data to test which of the methodologies of prosopography, collective and individual biography, social network analysis and occupied topography are most appropriate for analysis of the city’s social structure and individuals’ lived experiences. It subsequently selects collective and individual biography for use with the randomly incomplete data set presented by the archives. Using the database to create group and individual biographies, it then introduces elementary quantitative analyses of the city’s social structure, starting by describing broadly the distinguishing characteristics of the leading actors and the chorus. Following on from this, it describes several groups who form part of the chorus, including the more civically active, alongside those with less data against their names. It investigates family and household dynamics and reveals how these are reflected through the occupation of baker. It continues by examining the post-mortem intentions of those who bequeathed goods and explores the lives of a selection of craftsmen, merchants, tailors and widows viewed through in-depth biographies created from the comparatively rich data associated with death. It also makes explicit that the lack of a particular document type compromises the degree of success in connecting the chorus to the cityscape using occupied topography methodologies. It reveals the challenges of recreating the notion of neighbourhood in the city’s west quarter around St Nicholas Priory, then the town house of the wealthy Hurst family. It concludes that it is possible to outline a new model, that of the ‘categorised, connected citizen’, which challenges the validity of MacCaffrey’s construct of a bi-partite society, one side of which is a murky unknown quantity about whom no ‘striking assertions’ can be made. This new model acknowledges the dynamism, individuality and interactivity of Exeter’s inhabitants, and contents that it is a better one for enabling historians to treat respectfully people they cannot yet fully understand.

abstract: Culture played an intrinsic role in the conquest of Ireland in the sixteenth century, and the English colonial project, so often described in political and military terms, must be reexamined in this context. By examining sixteenth century spatial and literary representations of Ireland and Irish culture it becomes evident that the process described by Timothy Mitchell, called enframement, was being imposed upon the Irish. Enframement is the convergence of two aspects of power, the metaphysical and the microphysical. Metaphysical power worked through maps and literature to bring order in the conceptual realm, allowing the English to imagine Ireland as they wished it to be. Microphysical power created order in the material world, by physically changing the appearance of the landscape and people to conform to England's laws and norms. The English justified their policy of colonization by representing Ireland and Gaelic culture as wild or barbarous, and hoped to achieve their colonial ambition by physically coercing the Irish into adopting the "superior" English culture. When the Irish continued to rebel against English rule, the colonizers began employing methods of extreme violence to subdue the Gaelic people. At the same time, they began to practice more extreme forms of cultural colonization by attacking those aspects of Gaelic culture which most resisted conformity to English standards of civility. The Gaelic legal system, called Brehon law, redistributive inheritance, cattle herding and traditional forms of Irish dress were denigrated to assert English authority over the Irish people. English fear of the negative effects of Gaelic culture were exemplified by the Anglo-Irish lords, who were originally of English descent, but had "degenerated" into Irish barbarians through the use of Gaelic culture. This retrograde process could also occurred when an English person practiced marriage, childbirth, wet-nursing or fosterage with Irish persons. These interactions, and the consequences which came from them, were often described in terms of infection and disease. Thus culture, operating on multiple levels, and how that culture was represented, became a powerful site for colonial power to operate. / Dissertation/Thesis / Masters Thesis History 2015

Thomas Ravenscroft, the English composer, editor, and arranger, is known for his participation in the St. Paul's Boys' Choir, as instructor of music at Christ's Hospital School, and as a prodigy. His best-known publications are a setting of the psalter, The Whole Booke of Psalmes, and the treatise, A Brief Discourse,which is an effort to revive mensural notation. Ravenscroft's works contain many examples of popular Elizabethan music which he edited and arranged. Part II of this thesis consists of an edition of his third publication, Melismata, a collection of nine rounds and fourteen partsongs. A list of critical notes is also included. The commentary to the edition includes a biography, a discussion of his works, the background and origin of the songs in Melismata, and an analysis of these songs.

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Our landfills are growing and constantly expanding with post-consumer waste in the form of cheap fast fashion garments. One way to deal with this problem is to upcycle the discarded material into new things with a higher value. There is one type of material though, that has a tendency to be forgotten about. This material is baby garments. Mother Elizabeth investigates how these discarded garments can be upcycled into womenswear fashion. The title of this work reflects the two areas investigated, baby garments and the Elizabethan era. With an aim of broadening the perspective of what type of discarded material can be upcycled into womenswear fashion, the areas of investigation are combined. Throughout the study, methods for exploring garments from the Elizabethan era were applied in order to create a reference library used as a base when making design decisions. The outcomes presented in this work aim to inspire other designers to broaden their perspective on what type of material can be used when working with upcycling. In addition to stressing the importance of using discarded textiles, this project also showcases how history can be used as a tool to make sure there is a future.

During the Elizabethan period, certain stereotypes existed concerning women. Seven tragedies were examined to discover the role played by those stereotypes in the dramas. These include "The Spanish Tragedy," "Edward II," "Bussy D'Ambois," "The Changeling," "A Woman Killed with Kindness," "Othello," and "The Duchess of Malfi." Female stereotyping was found to be used in three important ways: in characterization, in motivation, and as a substitute for motivation. Some of the plays rely on stereotyping as a substitute for motivation while others use stereotyping only for characterization or subtly blend the existence of stereotyping into the overall plot. A heavy reliance on stereotype for motivation seems to reflect a lack of skill rather than an attempt to perpetuate those stereotypes.

This thesis traces the revival of Senecan tragedy from 1570 to the end of the sixteenth century through some of the earlier translations, adaptations, and imitations, and to evaluate the significance of the final evolution of such works into the Elizabethan tragedy of revenge.

In this thesis an attempt will be made to trace briefly the development of the domestic tragedy of blood on the English stage to the end of the first decade of the seventeenth century.

This thesis aims to explore the relationships between dramatic texts and the Elizabethan topic of the humours. It covers Burton's Anatomy of Melancholy, Jonson's plays Every Man Out of His Humour and Every Man in His Humour, and Shakespeare's plays Hamlet and As You Like It. Each of these works provides a glimpse into society and its opinions specifically on melancholy, from its most basic and complex definitions to how it is perceived and addressed.