ABSTRACT "Music for the Mad: A study of the madness in Purcell's mad songs" Ester Lebedinski, Uppsala University, Sweden, Department of Musicology, 2009. Madness was a stock topic in seventeenth-century drama, and music a compulsory feature on the Restoration stage. Henry Purcell's contributions to the latter are abundant, and include the popular combination of madness and music in his mad songs for Thomas Durfey's comedies. This essay aims at exploring the depiction of madness through music, verbal text and dramatic context in Purcell's mad songs for Durfey's plays A Fool's Preferment (1688), The Richmond Heiress (1693) and part I and III of The Comical History of Don Quixote (1694 and 1696 re­spectively). Particular emphasis is laid on text illustration and the songs' placement in the dramatic context. Madness is discussed as a deviation from the accepted norm, as the anormal demarcated from the normal. Conclusively, Purcell's mad songs are characterized by their variousness e.g. rapid changes between keys, styles, moods and subject matters, as opposed to the relative conti­nuousness of songs not depicting madness, and their sometimes exaggerated word paintings. Purcell's music does not independently express madness, but the illustration of madness is linked to the verbal text and the dramatic context, highlighted and completed through Pur­cell's music.

This study examines the role of religious poetry and pedagogy in maintaining the English Catholic community during the Reformation and Counter-Reformation. English Catholics faced legal sanctions, social isolation, and physical harm for practicing their faith, and the Catholic church began a campaign to maintain, educate, and minister to the community covertly through the use of Jesuit missionaries and published pedagogical texts. The influence of such experiences can be seen in the literary works of John Donne, Robert Southwell, Richard Crashaw, and Elizabeth Cary, as well as in the instructional works by lesser-known Catholic writers including John Fowler, Thomas Wright, John Bucke, Henry Garnet, Gaspar Loarte, John Mush, Jeanne de Cambray, and Agnes More. These texts also show a stylistic influence upon one another wherein pedagogical texts utilize poetic language, and poetic texts instruct the reader in religious practice through modeling and example. Through a careful reading of these works, I examine the early modern literary landscape of England in its Catholic context. Finally, I argue that the question of Protestant/Catholic identity led to the development of a religious poetics that emphasized the role of the individual within this crisis and, more importantly, in his or her relationship with God.

This study attempts to present a comprehensive study of Jifei Ruyi (J. Sokuhi Nyoitsu, 1616-1671)'s life. Jifei was originally a monk of Wanfusi (J. Manpukuji) at Mount Huangbo, China, and one of Yinyuan Longqi (J. Ingen Ryuki, 1592-1673)'s leading dharma heirs. He contributed as a founding leader of the Wanfusi expatriates to the establishment and consolidation of Manpukuji in the seventeenth century Japan. Chief among his achievements is his introduction of the Chan style and literati cultural activity of the late Ming China (1368-1644). Jifei's syncretic religious practice combined Linji Chan (J. Rinzai Zen) style and elements from other Buddhist denominations, with his Chan modeled mainly on the teachings of Linji Yixuan (d.867). Jifei's filial piety, Confucian kinship and Buddhist sectarian consciousness, and cultural practice of literati ideal reflect his unitary vision of Confucianism and Buddhism, a popular socio-religious trend during the time.

As the Catholic revival that followed the Wars of Religion in France brought about the proliferation of new monasteries and religious orders, spiritual biographies of the founders and leaders of these houses were composed in unprecedented numbers. These texts, generally written by men about women, described cultural ideals about feminine piety more than the lived experience of nuns. This project seeks to examine the ways that spiritual biographies nevertheless represented literary practices in convents and actual collaboration between religious men and women. The vast array of biographical documents that were produced within convents became the source materials for the male authors of biographies, which allowed the members of convents to exert influence on the subject matter of the published work. The products of these collaborative efforts then served the interests of women as well as men, offering examples of religious communities’ virtues and valuable works to potential recruits and donors in addition to providing models of the ascetic piety and self-examination endorsed by women of the Catholic Reformation. In an era when authorship was a communal, rather than individual, endeavour, the participation of men did not necessarily erase all traces of women’s voices, but rather granted them the legitimacy and spiritual authority to be published before a wider audience. Spiritual biographies are therefore an example of how cloistered women could transcend the barriers of enclosure to influence a broader secular and religious public. / Graduate

During the 1630s, congregations began to separate from the established Anglican Church forming new autonomous groups. This study examines separatist and Baptist women s writings from this period, as they struggled under the persecution of the religious authorities and under the increasingly strict rules of their congregations. These women s writings could not have been imagined without the proliferation of these new congregations, but, as well as providing a platform for women to publish, these groups imposed their own rules on what women could express in public. Considering separatist and Baptist women as part of their congregations is integral to an understanding of their work, and it is on this that this study focuses. Although their writings relate and analyse their own relationship with God, this is always presented as a sign of the progress of God s people as a whole. Through an analysis organised along doctrinal and congregational lines, this study draws attention to women who have received little or no literary critical (or indeed historical) attention, by considering the genres they utilised as part of their membership. Women writers of conversion narratives, in particular, have not received as much critical attention as more remarkable women who prophesied or who were associated with male writers. The voices of little-studied women like An Collins, Sarah Davy, Deborah Huish, Sara Jones, Susanna Parr, Katherine Sutton, Jane Turner, Anne Venn, the anonymous speaker of Conversion Exemplified and the contributors to the collections of John Rogers and Henry Walker deserve to be heard alongside the reported words of Mary Allein, Anne Harriman, Dorothy Hazzard, and Elizabeth Milbourne, and better known writers such as Anna Trapnel and Agnes Beaumont. The study will also draw on works that are not currently widely available, which have therefore received very little critical attention. Often compared to Deborah, the biblical Mother in Israel (Judges 5:7), women in these gathered churches were instrumental in bringing forth joy to their metaphorical children of Israel, by prophesying ways in which enemies of their congregations would face retribution and by continually strengthening church practices in time for the second coming of Christ. This study explores the various ways in which these mid-seventeenth-century women worked to strengthen their congregations through their writings, believing that they had been divinely inspired to edify those whose practice was wanting, and vindicate rightful walking in his name. During the 1630s, congregations began to separate from the established Anglican Church forming new autonomous groups. This study examines separatist and Baptist women's writings from this period, as they struggled under the persecution of the religious authorities and under the increasingly strict rules of their congregations. These women's writings could not have been imagined without the proliferation of these new congregations, but, as well as providing a platform for women to publish, these groups imposed their own rules on what women could express in public. Considering separatist and Baptist women as part of their congregations is integral to an understanding of their work, and it is on this that this study focuses. Although their writings relate and analyse their own relationship with God, this is always presented as a sign of the progress of God's people as a whole. Through an analysis organised along doctrinal and congregational lines, this study draws attention to women who have received little or no literary critical (or indeed historical) attention, by considering the genres they utilised as part of their membership. Women writers of conversion narratives, in particular, have not received as much critical attention as more 'remarkable' women who prophesied or who were associated with male writers. The voices of little-studied women like An Collins, Sarah Davy, Deborah Huish, Sara Jones, Susanna Parr, Katherine Sutton, Jane Turner, Anne Venn, the anonymous speaker of Conversion Exemplified and the contributors to the collections of John Rogers and Henry Walker deserve to be heard alongside the reported words of Mary Allein, Anne Harriman, Dorothy Hazzard, and Elizabeth Milbourne, and better known writers such as Anna Trapnel and Agnes Beaumont. The study will also draw on works that are not currently widely available, which have therefore received very little critical attention. Often compared to Deborah, the biblical 'Mother in Israel' (Judges 5:7), women in these gathered churches were instrumental in 'bringing forth' joy to their metaphorical children of Israel, by prophesying ways in which enemies of their congregations would face retribution and by continually strengthening church practices in time for the second coming of Christ. This study explores the various ways in which these mid-seventeenth-century women worked to strengthen their congregations through their writings, believing that they had been divinely inspired to edify those whose practice was wanting, and vindicate rightful walking in his name.

Notre travail a pour ambition de proposer une réflexion sur les fonctionnements et les fonctions de la fête publique au XVIIème siècle. Nous avons choisi , au delà des fêtes de cour déjà abondamment étudiées, de nous intéresser à des manifestations qui, d'une manière ou d'une autre, mettent en jeu l'ensemble de la population. Nous avons circonscrit notre recherche à l'espace provençal, où l'on dispose de documents extrêmement intéressants.Dans la première partie dont la fonction est de saisir les différentes notions incluses dans la fête et ses représentations , on explore les traits caractéristiques de la fête en général au XVIIème siècle : circonstances, structures, participants, etc. Dans la deuxième partie on traite des fêtes populaires dans lesquelles s’inscrivent deux catégories : le carnaval et les fêtes carnavalesques. Dans la première catégorie, on étudie le carnaval, ses origines, son déroulement et ses enjeux en montrant que c’est la fête populaire par excellence. Ensuite pour ce qui est des fêtes dites carnavalesques, nous avons choisi d’étudier trois fêtes différentes: la fête des Fous/Innocents, la Fête-Dieu et le charivari. Chacune d’entre elles est une fête bien particulière mais elles ont toutes des traits qui les rattachent au carnaval. Dans toutes ces manifestations, on voit l’importance du masque , des déguisements qui offrent l’occasion d’une certaine théâtralité permettant le renversement des rôles, la parodie et parfois même une satire assez débridée .Dans la troisième partie de notre étude il est question des fêtes institutionnelles,avec tout d’abord les fêtes d’événements nationaux qui sont des cérémonies organisées pour célébrer un événement national ou un événement majeur de la vie monarchique: naissance, mariage, victoire... Mais les fêtes institutionnelles qui nous intéresseront le plus sont les entrées royales d’un point de vue politique beaucoup plus importantes et plus significatives que les fêtes concernant des événements nationaux. L’entrée royale se définit comme étant une visite que le roi effectue dans ses bonnes villes lors d’un voyage. Pour justifier ces données nous utilisons des entrées royales des trois règnes différents du XVIIème siècle: celui d'Henri IV ( Marie de Médicis), de Louis XIII et de Louis XIV et cela dans trois villes de Provence bien précises, Marseille, Aix et Avignon qui sont les villes « étapes » lors des voyages des hauts personnages. Dans la quatrième et dernière partie, on montre comment les fêtes populaires et institutionnelles présentent des traits convergents, bien qu’elles soient, a priori, assez différentes. Dans le contact qui rassemble des individus, on retrouve un aspect fondamental de la société de cette époque : la prégnance du groupe. Au XVIIème siècle, l’individualisme n’existe pas encore, chaque individu se définit par rapport à un groupe ou à un ensemble de groupes. Tout cela corrobore l’idée que l’individu agit selon le contexte (la fête) en fonction de ce qu’il est ou de ce qu’il voudrait être. Entre l’exhibition et la dissimulation, la frontière est assez mince : le masque est le rideau qui sépare ces deux postures. Dans l’entrée royale, on est dans la réalité des faits, projetée et actée : c’est une immense représentation (souvent fantasmée) de la structure sociale ; dans le carnaval, on n’est plus dans l’ordre de l'illusoire, on se plaît à être un autre, brouillant ainsi toute la réalité des choses établies dans un fantasme momentanément représenté / Our work has for ambition to propose a reflection on the fonctionnions and the fonctions (offices) of the public party in the seventeenth century. We chose, beyond the parties of court already abundantly studied, to interest us in démonstrations (apparences) wich, somehow or other, involve the whole population. We confined our search in the Provençal space, where we have extremely interesting documents. In the first part with which function (office) is to seize the various notions included in the party and its representations, we investigate the characteristic lines of the party generally in the seventeenth century : circonstances, structures, participants,etc. In the second part we treat popular parties which join two categories : the carnival and the grotesque parties. In the first category, we study the carnival, its origins, its progress and its stakes by showing that it is the perfect popular party. Then as for the grotesque said parties, we chose to study three different parties : the party of the Madmen/Innocents, the Corpus Christi and the charivari. Each of them is a very particular party but they quite concern who connect them with the carnival. In all these demonstrations, we see the importance of the mask, the fancy dresses which offer the opportunité of a theatricality allowing the reversal of the roles, the parody and sometimes even an unbridled satire. In the third part of our study it is question of all the parties of national events which are ceremonies organized to celebrate a national event or a major event of the monarchic life : birth, wadings, victory… But the official party which will interest us most are the royal political entrances of a point of view more significant than the paries concerning national évents. The royal entrance definies itself as being a visit that king make in his cities during a travel. To justify these informations we use royal entrance of three reigns different from the seventeenth century : that of Henri IV (Marie de Médicis), of Louis XIII and Louis XIV and it in the three very precise cities of Provence, Marseille, Aix et Avignon which are cities « stages » during the travel of the High dignitaires. In the fourth and last part, we show how the popular and institutional parties present convergent lines, although they are rather diffent, a priori. In the contact which gathers individuals, we find a fundamental aspect of the society of this period : the sign of the group. In the seventeenth century, the individualism does not still exist, every individual acts according to the context (party) according to what he is or what he would like to be. Between the exhibition and the dissimulation, the border is rather thin : the mask is the curtain which separates these two postures. In the royal entrance, we are in the reality of the facts, planned and acted : it is an immense representation of the social order; in the carnival, we are more in the order of the imaginary, we like tobe the other one, so blurring all the reality of things etablisse in a for moment represented fantasy

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<p>During the time between Queen Elizabeth I and the Restoration in particular, the foundations of English historical scholarship were laid and modern historical consciousness was born. Local pride was also manifested in historical-antiquarian- geographical accounts of the various regions of Britain, especially those based on county units. This type of study, often called "chorography" by contemporaries, centred on surveys on which local antiquities were often viewed. first hand. It is generally regarded as having been introduced into England by John Leland during the latter part of the sixteenth century, reaching its climax with the publication of William Camden's monumental Britannia, first issued in 1586.</p> <p>The present study examines the work of the chorographers who followed these two men (chronologically, at least), and who have been relatively neglected by subsequent historians and geographers. Here, the character of this literary form as a whole is for the first time set out in detail, i.e., its subject matter and parameters; thus also, many of the individual "regional studies" which are obscure or totally unknown to the scholars of today are examined with regard to the author's background, purpose, attitude, style, etc.</p> <p>In the second half of the seventeenth century, regional study became considerably more realistic and practical than that of the earlier workers in the field, usually concentrating on an examination of the natural--not "merely" civil-history of a region. The impetus for this is traced to t he influence of the activities of the Royal Society , which largely followed the scientific dicta of Sir Francis Bacon.</p> / Doctor of Philosophy (PhD)