This thesis re-evaluates the nature and impact of seventeenth-century Scottish-Swedish relations, as regards military, diplomatic and noble involvement during the Thirty Years' War and in terms of Scottish domestic political developments between 1638 and 1660. The innovative <I>Scotland, Scandinavia and Northern Europe, 1580-1707</I> database forms an integral part of the statistical analysis comparing the significant Scottish military presence in both the Swedish army and navy to the paucity of English and Irish involvement. Sweden's re-emergence as an independent nation capable of militarily subduing and economically influencing Europe in the seventeenth century is traced from its early sixteenth century role as a minor northern dependent of the Scandinavian Kalmar union. This is contrasted with Scotland's gradual merging with England in a regal union where opportunities for social advancement, particularly through ennoblement, were reduced and new positions were sought abroad. Scottish success in entering the highest ranks of Swedish society is linked to the development of a strong and influential Scottish network in Sweden. With the waning of royal authority experienced in Sweden and Scotland during the second half of the 1630s, the nobility of both states grew very powerful. Scottish officers such as Alexander Leslie, Patrick Ruthven and John Cochrane returned to Scotland during the British civil wars and became linchpins of Scottish-Swedish contacts. The Gothenburg-based Scot John Maclean also helped to organise military support for various campaigns, from the Covenanters through to the later Stuart fight to re-instate Charles II to his British kingdoms. The return of monarchic power under Kristina in Sweden, and the rise of Cromwell and the power of the English Parliament in the Stuart kingdoms, had a detrimental impact on Scottish-Swedish relations. Despite this the Scottish network retained a pro-Stuart bias, and even in the region of Karl X, when direct Swedish relations with Scotland were restricted largely to military recruitment, Stuart support was still a motivating factor. However, by the restoration of Charles II the major characters involved in the heyday of Scottish-Swedish diplomatic relations had died or retired from political activities, and Sweden's attention remained firmly focused on the London-based power source of the Stuart kingdoms.

The objective of my research is to develop a body of work for exhibition based on an examination of the ways that corporate space, as exemplified by the foyers and conference rooms of contemporary corporate offices, reflect societal anxieties about wealth and power. These works will draw on the history of painting, with particular reference to 17th century Dutch still life painting, as a framework within which to conduct the exploration of contemporary space. This will be done by applying or interpreting the principles, motifs and techniques used in that period in the visual representation of the connection between wealth and decadence and western culture's ambiguous attitude towards the creation and accumulation of wealth. Boardrooms, corporate foyers and office interiors have developed into instantly recognisable types of space with a particular atmosphere, typified by large empty space and the use of materials such as marble and granite and surfaces with reflective finishes.. These spaces are often open to the public, but the intention is for people to be impressed by the wealth and power of the occupants, an idea initially perfected in Ancient Rome. The impression of wealth and power created in these spaces is balanced against a need to demonstrate prudence and restraint - the corporations need to avoid creating an impression of extravagance or wastefulness. The emergence of the genre still life painting in the Netherlands during the 17th century provides useful source material for their representations of restrained prosperity as well as the moral content related to the virtues of modesty and the transience of material life and wealth. The illusory space in the church interiors of Saenredam and de Witte, with their sense of expansive space and light, are echoed in the real space of contemporary corporate foyers and provide a basis for considering the format, composition and modes of representation of constructed space.

This thesis attempts to understand Marshall in a similar vein but on a much larger scale. Our work will progress in four remaining chapters. In chapter II we will explore Marshall’s diachronic context, explaining how Protestant theology wrestled with correlating free justification and the need for a renewed life. We will look at Luther, Trent, and Calvin because they were highly influential in shaping the theological context in the seventeenth century and because they offer clear examples of theologians struggling to formulate their doctrine of Sanctification. In chapter III we will look at Marshall’s synchronic context. Our main task is to trace the development of Antinomianism and Neonomianism. Both systems were significant factors in Marshall’s context. We will also study those who influenced them, including Perkins, the English Arminians, and Owen. We will conclude this section with several tensions that were present in English Reformed theology in the middle of the seventeenth century. Chapter IV accounts for about half of this thesis. This is where we will explore Marshall’s theology. We will analyze Marshall’s book The Gospel Mystery rhetorically and systematically, examining how Marshall constructed his argument and the system of theology on which his argument was based. Our goal is to reconstruct his theological system. This chapter is subdivided into chapter length sections, which include the nature of sin and depravity, union with Christ, the new nature, justification, faith, assurance, and practical sanctification. Finally we will conclude in chapter V by showing that although Marshall is not unique in his theological construction, Marshall’s work demonstrates several factors that make it uniquely helpful in countering the twin errors of Antinomianism and Neonomianism, which are perennial dangers for Reformed churches. To bolster this conclusion, we will briefly explore how Marshall was used in the generations immediately following him.

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<p> Recent scholarship has added to our knowledge about the court masque, reinforcing its significance for the literature of the sixteenth and seventeenth centuries. Milton's Comus has profited from such re-assessment so that its high valuation as dramatic literature need no longer be regarded as incompatible with its success as a court masque. The new seriousness of approach to the court masque in general and Milton's Comus in particular provides the impetus for an examination of the rest of Milton's poetic output for the purpose of tracing there the influence of his experience with the complimentary court entertainment.</p> <p> The court entertainment was encomiastic in intent, this encomium being patterned according to certain conventions. Paradise Lost, which praises God, uses a number of these conventions. Contrary to usual epic practice, Milton does not immortalize worldly conquests and compliment the statesmanship of his nation's leaders. Early notions of a British epic, to use the Arthurian or other indigenous material, were abandoned in favour of a work to celebrate the heavenly king and the spiritual kingdom. In the finished poem epic structures are interpreted in ways suggestive of the influence of court pageantry. Encomium of the heavenly king is expressed in the God-centred structure of Paradise Lost. The whole action of the poem focusses on the throne of the omniscient viewer. The angels sing and dance about this throne as the court danced before royalty in the court entertainment, and even creation is the setting for "a Race of Worshippers" (VII.630). A foil to the glory of Heaven, provided in the parodic activities of the fallen angels in Hell, suggests the conventions of the antimasque and the comedy of misrule. The victorious reign of Christ is celebrated, as many a pageant celebrated the reign of a seventeenth-century king, in a tournament. A mock battle in which no one is maimed, this culminates in the triumphal entry of Christ himself in a pageant chariot, symbolically banishing, rather than waging battle with, the forces of evil. In Satan's pilgrimage to earth even the traditional epic wanderings are transformed into an allegoric progress. The devices of the court entertainment inform the action of the poem, which is made up of processions, ceremonies and masques. The scenic spectacle, too, is influenced by the theatrical effects and iconography of royal pageantry.</p> <p> One might expect Heaven and Hell to be presented in terms of allegoric theatre, but in Paradise Lost even the garden itself is a golden world which works according to the pastoral conventions that so often informed court entertainments. Adam and Eve are the poem's legendary rulers. As he describes the pomp of the prelapsarian kingdom, Milton relies on a knowledge of contemporary pageantry. Here such pageantry expresses the perfection of the most perfect earthly kingdom of all. Referring to a legend often used to glorify the British court, Milton says of Paradise: "Hesperian Fables true, / If true, here only" (IV.250-51). To see Paradise Lost in the context of the contemporary pageantry and masque theatre is to see it not as history reconstructed, but as historic incident transmuted through the use of a series of literary devices into encomiastic fiction. The fictional world of the poem is designed to justify the workings of God's creation; it glorifies the providence of the omnipotent creator.</p> / Thesis / Doctor of Philosophy (PhD)

This project analyzes the role of religion, both institutional and private, in Virginia's dealings with witchcraft during the seventeenth century. The witch trials of New England and Europe during the 1600s have tended to overshadow those that simultaneously took place in Virginia, leaving historians to prematurely regard Virginia as an anomaly of rationality in an otherwise superstitious period of witches and demons. Virginia's failure to prosecute those accused of witchcraft was not due to a lack of allegations, my thesis will argue, but can instead be partly attributed to the nature of the colony's religious experience and the theology and practices of Virginia's Anglican Church. While Virginia's seventeenth-century inhabitants migrated to the New World with firmly entrenched English religious values, their relationship with God and their response to the supernatural world were profoundly influenced by New World experiences and peoples. To protect the social fragility of their colony, Virginia's political and religious leaders consciously chose to prosecute offenses that they felt threatened the social cohesion of the colony, such as fornication, gossip, and slander, and dismissed those, such as witchcraft, that threatened to tear it apart. / Master of Arts

Muan Xingtao was a prominent Chan master of the seventeenth century. This study attempts to examine his religious and cultural legacy and his numerous accomplishments. Among his many achievements were his successful consolidation of the Obaku headquarters of Manpukuji in Japan and cultivation of many Japanese dharma heirs which greatly expanded the Obaku’s territories. He was praised for his artistic abilities in painting and calligraphy which led to the Japanese designating him as one of the “Obaku sanpitsu 黄檗三筆”. He earned the highest religious honors of the purple robe and obtained the patronage from the shogun and Japanese elite. He characteristically manifested the virtues of filial piety and loyalty and transmitted the Ming style of Buddhist teachings, which placed more emphasis on the lay believers, nenbutsu and monastic discipline to Japan. His life represented the religious influence achieved through the interconnection between nations.

The current established historiography of the field of project management dates back to the 1950s and there is little known about the development of this field prior to the Second World War. Critical scholars within this field have challenged the timeline for project management. This historical research provides evidence of project practices prior to the twentieth century by introducing the activities of projectors, who are currently unacknowledged within the field of project management. The title of projector was assigned to initiators and/or promoters of the idiosyncratic activities that combined elements of public and private gain and were known in the period as projects. The research investigates the genesis of the ‘projector' name and maps out the activities of projectors and their involvement within English industrial and economic development. Projectors and their schemes are explored through three different foci. The first focus is archival, exploring a seventeenth-century project within the textiles industry carried out by the projector Walter Morrell. This analysis highlights a number of practices within Morrell's project similar to modern project management, and potentially informs the history of project management. The second focus is through the lens of the late seventeenth-century writer and projector Daniel Defoe, whose seminal publication on projects was reprinted multiple times and consequently shaped public opinion on projectors and the undertaking of projects, this focus was socio-historical. The third focus relates to public-private interest, which played an important role in projectors’ undertakings and strongly influenced the connotation of the title ‘projector’. This theme is examined through existing PhD theses of scholars who studied the activities of projectors in seventeenth-century England. These three foci inform the contribution this thesis makes to project management history. The originality of this work is in acknowledging the activities of projectors within seventeenth century England, which has implications for project management histories.

This thesis examines the practice and experience of religion at the parish level in post-Reformation North East Scotland. It challenges the traditional view that the region was solidly and resolvedly "conservative" and argues that it became predominantly, but not uniformly, reformed in the first half-century following the Reformation. Kirk session and presbytery records drawn from the distinctive and diverse region of the North East provide the foundation of the primary research, allowing religion as lived by parishioners from all segments of society to be the focus of this study and offering the opportunity to map geographical variance. After introducing and defining the subject and setting it within its historiographical context, an overview is provided of the region's physical, social, political, and religious landscapes. The main body of the thesis explores the practice and experience of faith in the North East between 1560 and 1610 using three main themes. The first studies the Sabbath, the weekly fixture that was the heart of public worship and observance in the parish. Sacramental practice is the second theme with an in-depth study of the annual administration of Communion, which reinforced temporal and spiritual bonds among Kirk adherents and starkly exposed non-adherents and recusants. The final theme considers the role and position of ministers and readers in religious practice and investigates the relationship between them and their parishioners. From detailed analysis of these three themes, it is concluded that the North East as a whole was transformed into the general mould of Scottish Reformed Protestantism by 1610, but that there was a spectrum of practices and experiences of faith. More broadly, this thesis demonstrates that, whilst religious reform in Scotland was achieved, the religion as lived by Scots was nuanced and polychromed.

abstract: Among the many paradigm shifts brought about in the seventeenth century was an increased dissociation between the subject and time as a lived, shared experience. Clockwork Subjects in the Seventeenth Century: Shakespeare, Herbert, and Milton investigates how changes in the social understanding and experience of time, concurrent with changes in timekeeping technologies, were reflected in the literature of the period. This dissertation is closely concerned with the phenomenon of time from the perspective of the subject and the various ways subjects represent themselves as beings in time. Chapter One provides a theoretical introduction, establishing a Heideggerian framework of temporality and ontology, while emphasizing the characteristics of clock-time as time that is movable and separable from what Heidegger would term “originary time.” Chapter Two analyzes metaphors of hearing in Richard II in relation to the play’s pivotal conceit, in which a dethroned Richard compares himself to broken clockwork; exploring temporality in tandem with the phenomenon of hearing, I argue that aural captivation distorts Richard’s perception of his placement in a larger historical framework. Chapter Three employs a reading of Augustinian time George Herbert’s poems, “Even-song” and “Church-monuments,” analyzing the soul’s experience of time in contrast to temporal metaphors that ask, with Augustine, whether time can be measured by and within the self. Chapter Four, analyzing Milton’s Samson Agonistes, explores Samson’s attempt to act and interpret divine intent while in the middle of history, paralleling early modern efforts to construct an interpretive framework for nature and time. / Dissertation/Thesis / Doctoral Dissertation English 2018