Thesis (Ph. D.)--Columbia University, 1932. / Vita. Bibliography: p. 365-370.

City of Edinburgh Museums and Galleries hold a substantial collection of artefacts and record books donated in 1909 by the office bearers of the Royal Ancient Order of St Crispin. This organisation was the final reincarnation of the Royal St Crispin Society established around 1817. From 1932 the display of a selection of these objects erroneously attributed their provenance to the Incorporation of Cordiners of Canongate with no interpretation of the meaning and use of this regalia. The association of shoemakers (cordiners in Scotland) with St Crispin their patron saint remained such that at least until the early twentieth century a shoemaker was popularly called a ‘Crispin' and collectively ‘sons of Crispin'. In medieval Scotland cordiners maintained altars to St Crispin and his brother St Crispianus and their cult can be traced to France in the sixth century. In the late sixteenth century an English rewriting of the legend achieved immediate popularity and St Crispin's Day continued to be remembered in England throughout the seventeenth century. Journeymen shoemakers in Scotland in the early eighteenth century commemorated their patron with processions; and the appellation ‘St Crispin Society' appeared in 1763. This thesis investigates the longevity of the shoemakers' attachment to St Crispin prior to the nineteenth century and analyses the origin, creation, organisation, development and demise of the Royal St Crispin Society and the network of lodges it created in Scotland in the period 1817-1909. Although showing the influence of freemasonry, the Royal St Crispin Society devised and practised rituals based on shoemaking legends and traditions. An interpretation of these rituals is given as well as an examination of the celebration of the saint's day and the organisation and significance of King Crispin processions. The interconnection of St Crispin artefacts and archival material held by Scottish museums and archives is demonstrated throughout the thesis.

Made available in DSpace on 2015-03-05T19:14:41Z (GMT). No. of bitstreams: 0 Previous issue date: 29 / Nenhuma / O objetivo do estudo é a avaliação do desempenho econômico e financeiro de empresas calçadistas brasileiras. O estudo contextualiza-se no ambiente caracterizado a partir dos anos 1980, quando o mercado competitivo ultrapassou as fronteiras domésticas, exigindo das empresas maior eficiência na gestão de suas atividades, tendo na contabilidade uma das fontes de informações necessárias para orientar a adequada utilização dos recursos. A pesquisa se caracteriza como de natureza exploratória, quantitativa e documental. Para o desenvolvimento do estudo coletaram-se demonstrações contábeis correspondentes aos anos de 2000 a 2006 e relativas a 15 indústrias do setor calçadista brasileiro localizadas nas regiões Sul, Sudeste e Nordeste. O estudo, com base em 30 indicadores selecionados, possibilitou a análise do conjunto das empresas, por meio do índice-padrão de cada indicador. Em seguida, efetuou-se a análise dos indicadores por empresa. Visando testar o significado dos resultados da análise, foram aplicadas as técn / The objective of this study is to evaluate the economic and financial performance of the Footwear Industry from the 1980’s on, when the competitive market crossed the domestic frontier, demanding more efficiency from shoemaking companies regarding the management of their activities. Within this context, accountancy is seen as one of the necessary information sources to guide the proper use of resources. The study is exploratory, quantitative and documental in nature. Statements of financial accounting from 15 Brazilian shoemaking companies located in the South, Southeast and Northeast regions were collected from the year 2000 to 2006. The study was based on 30 selected indexes, which made possible to analyze the group of companies by the standard-index of each indicator. Following that, the index analysis of each company was made. In order to check the analysis results, typical value techniques were used as a comparative measure of the standard indexes and the statistical correlation tests. The companies ran

My dissertation proposes that the history of early modern repertory theatre cannot be understood free from the history of disability. I argue that disability was a far more ubiquitous presence in early modern theatre than scholars have hitherto recognized. This is because playing companies represented disability through a manifold web of tools pervading the theatrical marketplace, including player identity, props, embodied acts, gestures, vocalizations, fragments of dialogue, and even the staging of locational places. Tracing disability’s overt and allusive ubiquity is essential for understanding how assessments of (dis)ability consistently informed spectators’ encountering and interpretation of staged drama. Chapter One places period commentary on stage players in dialogue with Christopher Marlowe’s Tamburlaine, arguing that ability and able-bodiedness were valued and idealized by playing companies and audiences alike. Chapter Two examines Robert Greene’s Orlando Furioso, Thomas Middleton’s The Revenger’s Tragedy, and George Chapman’s The Blind Beggar of Alexandria, proposing that leading players’ consistent embodiment of disability troubled a firm binary between disability and able-bodiedness in theatrical performance, as players’ stage identities consistently bore the residues of disabled performance. Chapter Three examines William Shakespeare’s Richard III and Othello, as well as Shakespeare and John Fletcher’s The Two Noble Kinsmen, arguing that even minute tics and gestures onstage evoked the memory of past and present disabled performance. Disabled characters were, this chapter argues, often self-consciously constructed upon one another in ways that allowed repertory theatre to both recount and rework its history of disabled representation. Chapter Four examines the anonymous The Fair Maid of the Exchange, Thomas Dekker’s The Shoemaker’s Holiday, and Robert Armin’s The Two Maids of More-Clacke, arguing that disability was essential to the conception of place in early modern theatre—especially within a repertory system in which “place” often depended upon tools of theatrical representation that bore the residues of past and present disabled performance.

Early modern neighbours were ubiquitous audiences to — and performers in — each other’s lives. Social historians have suggested that neighbours tended to possess surprisingly intimate information about each other, and they could use these insights to invade, encroach upon, and undermine those around them. To date, however, the relationships between neighbours (which are here termed ‘neighbourship’) have been narrowly located in the interactions between people living near to each other in domestic contexts. This dissertation proposes a significantly more capacious understanding of neighbourly dynamics by turning to a different archive: early modern plays that use particular theatrical devices — spectatorship, clothing, dialect, and stage properties — to work out the threats, obligations, and opportunities that come with sharing space and neighbourly knowledge. This dissertation draws on canonical and non-canonical plays from a range of genres and playwrights between the late sixteenth and mid-seventeenth centuries, including Shakespeare’s A Midsummer Night’s Dream and Coriolanus, Jonson’s The Alchemist, Heywood’s little-known Jupiter and Io, Dekker’s Shoemaker’s Holiday, and George Peele’s Edward I. Neighbourship was not defined by its domestic context, but by dynamics and internal structures, such as interchangeability and temporal iteration, that shaped early modern expectations about how this relationship manifested. The approaches in this dissertation build on social historical work by Lena Orlin, Catherine Richardson, B.S. Capp, and others, as well as theatre scholarship from Peter Womack, Jeremy Lopez, and Jennifer A. Low. There are two major interventions here: first, in the idea that the dynamics of neighbourship do not apply only between proximate humans, but also between ‘atypical’ neighbours — fairies, animals, languages, and nations — who offer focal points in respective chapters. These atypical entities challenge the normative understanding of neighbourship by taking its dynamics to an extreme, pushing theatrical audiences to the limits of their sympathetic identifications. The second intervention is in the argument that theatrical devices uniquely express and amplify the stakes of neighbourly dynamics. The temporal and spatial compression of the stage pushes unusual neighbours into greater proximity with each other, and the stage made manifest the complicated negotiations of similarity and difference that neighbourship entailed. Overall, this dissertation highlights the capacity of the early modern stage to transpose the dynamics of neighbourship across apparently disparate realms, drawing attention to theatrical manifestations of similarity and difference, belonging and alienation, and the transgression of borders.