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Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 97-101). Also available via the World Wide Web.

Thesis (Ph. D. in ENglish)--Vanderbilt University, 1992. / Includes bibliographical references (leaves 331-344).

Le théâtre ne choisit pas nécessairement le détour pour représenter le temps présent des spectateurs. Souvent négligée voire méprisée par la critique, la mise en scène directe de l’actualité propose pourtant un terrain d’étude fécond du regard que les individus d’une époque portent sur leur existence dans le temps. Vecteur privilégié de la polémique orchestrée par les catholiques et les protestants à l’époque des conflits religieux, le théâtre d’actualité mêle toutes les formes et tous les héritages pour proposer à son public une vision à la fois divertissante et tranchée du présent, propre à conforter la communauté spectatrice dans ses positions. Les formes et les fonctions de ce théâtre évoluent cependant à mesure que l’opposition religieuse se déplace du terrain théologique au terrain politique, et à mesure que l’espoir d’une conciliation laisse place au conflit armé. À la vision eschatologique du théâtre d’actualité protestant qui voit dans le présent une annonce de l’imminente fin du monde et à la tentative désespérée du théâtre d’actualité valois de maintenir la fiction d’un présent doré de concorde succède le constat d’un présent de fer, qui fait de la scène le reflet sanglant d’une actualité particulièrement violente, convoquant son public à l’action. La paix de compromis établie par l’édit de Nantes et le devoir d’oubli qu’elle impose substitue à cet horizon pragmatique un horizon mémoriel : la représentation du présent sur la scène devient un enjeu de « souvenance », alors que se met en marche la légendarisation de l’action pacificatrice de la monarchie bourbonienne. / Displaying contemporaneous events on the theatre stage does not necessarily need to involve mythological or historical transposition. Often neglected or even despised by theatre critics, the representation of contemporaneousness, however, offers a particularly fertile field of study when it comes to analysing how individuals reflect on their own existence in Time.During times of religious conflict in Europe, both Catholics and Protestants alike used the stage as a powerful vehicle to stir controversy; situated at the crossroads between multiple forms and influences, theatre can provide its public with a re-presentation of present time both entertaining and critical, designed to strengthen a community’s actual and intellectual unity. What is more, forms and functions of “topicality” on stage evolve and develop further as religious conflict shifts from the theological to the political battleground and hope for reconciliation is overshadowed by escalating armed conflicts.Whilst Protestant topical theatre finds numerous concurrent signs of the imminent end of the world, the topical theatre created and represented at the Catholic Valois court tries desperately to maintain the illusion of a Golden Age of concord; soon thereafter, however, an Age of Iron is acknowledged, in which theatre reflects the violence and bloodthirstiness of its time and calls on the audiences to take action. When the compromise of the edict of Nantes imposes peace and amnesty, this pragmatism is substituted by a drive towards memorialisation: performing the present on stage becomes a matter of remembrance, at a time when the Bourbon monarchy tries to turn the recent past into a legend.

The origins and development of a sense of Scottish national identity have long been a matter of critical importance for historians of medieval Scotland. Indeed, this was also the case for historians in medieval Scotland itself: this period saw the composition of a number of chronicles that sought to describe the history of Scotland and the Scottish people from their earliest origins until the chroniclers' own time. The dissertation explores ideas of national identity within two medieval Scottish chronicles, known today as Gesta Annalia I and Gesta Annalia II. Taken together, these two chronicles, one written before the Wars of Independence, the other after, can offer valuable insights into the development of the identity of the Scottish kingdom and its people, and the way in which this was affected by the Wars of Independence, providing evidence both of continuity and of contrast. This is of particular interest with respect to their portrayals of the role of the Scottish king and his relationship with the kingdom, given the way in which Robert I and his supporters later apparently attempted to shape the narrative of Scotland's past and the position of its king to their own ends. The dissertation therefore seeks to investigate how such issues of Scotland's identity are presented in Gesta Annalia I and Gesta Annalia II. The first section of the study discusses the construction of these texts. The second then looks at how terms such as 'Scotland' and 'Scot' are understood in the two chronicles, and the relationship between these ideas of the Scottish kingdom and the Scottish people. The third section examines the presentation of the crown, church and language in the chronicles, and the role of these elements in uniting the kingdom and fostering this sense of identity, arguing that the continuity of these ideas between the two texts suggests that many elements of Scotland's national identity were well-established by the later thirteenth century.

Newspaper article: "Fearless woman remembered. A beautiful monument in Grahamstown, shown in this picture above, was erected to commemorate an act of outstanding bravery by a woman during the battle of Grahamstown in 1819. She was Elizabeth Margaret Salt who, with her husband Sergeant Salt, was among those besieged in Fort England, which was surrounded by hordes of Kafirs.”

This study of the term politique during the French Wars of Religion (c. 1562-98) argues that it is a keyword in the sense that it is is active and actively used in French explorations of the political, in the forming and undermining of collective identities in a period of civil crisis, and in the self-fashioning gestures of a shifting political class. I sample and analyse a range of texts - from treatises that form part of the canon of early modern French political writing (such as Bodin's Six livres de la Republique [1576] and the Satyre ménippée [c. 1593]) to anonymous polemical pamphlets - all of which feature prominent uses of the term politique. Certain of these sources gave rise to a longstanding historiographical impression that politique referred, in the period, to a coherent third party in the religious wars as well as to a related kind of expertise and its practitioner. This thesis builds on and extends recent work showing that there was no such party and no one in the period who directly identified as politique. Rather than seeking to identify the 'real' politiques or to establish a corrected definition of the term as used in sixteenth-century French, I argue that the term is strikingly and increasingly mobile across the period, coming at times to refer to mobility itself in conceptions of politics and political action. Dialogue emerges in the thesis as a key conceptual arena and discursive mode for writers attempting to work out what they and others mean by the term politique. I use philological and word-historical methods to examine writers of the period who seek to determine what makes a good or bad politique, to present themselves as politique, or to condemn politiques as morally bankrupt, and - in some cases - to do all of the above in the same text. Almost every text I analyse in the thesis offers its own definition of politique, and attempts to be definitive, but I show that all these attempts to make the reader recognise the 'true' meaning of politique are extending the drama rather than concluding it.

A cultura da convergência abarca a questão tecnológica do fluxo de conteúdos, ocorrendo através de múltiplos suportes midiáticos e as questões de mudança de comportamento do público, que se apropria das redes digitais para buscar de diferentes experiências de entretenimento e de informação. Os sujeitos buscam um produto midiático que não se finde na sua própria exibição, mas sim proponha conteúdos que vão além de um único dispositivo de distribuição e necessitem do engajamento do público para que aconteçam efetivamente. Os fãs são personagens centrais da mudança na forma de operar da mídia de massa por serem pioneiros na adaptação às novas tecnologias de comunicação e informação e nos processos de produção e consumo participativos. A partir disso, esta pesquisa busca um olhar sobre as interações que fazem parte do comportamento dos fãs, tanto nas relações entre eles quanto com a indústria midiática. Para tanto, estudam-se os fãs de Star Wars, mais especificamente, os membros do Conselho Jedi do Rio Grande do Sul (CJRS), a fim de que através de um objeto empírico, consolidado e permanente se possa investigar o comportamento deste grupo no contexto de cultura da convergência, onde as interações entre eles e com o mercado de mídia são transformadas. / The convergence culture includes the technological issue of the content flow going through multiple media and the issues of changes in public behavior which appropriates itself of the digital networks seeking for different experiences of entertainment and information. The individuals look for a media product that doesn‟t finish itself in its own exhibition, but propose content that go beyond a single distribution device and require the engagement of the audience to actually happen. The fans are central characters in the change of mass media operating way because they are pioneers in adapting the new technologies of communication and information and in participatory processes of production and consumption. From this, this research seeks a look at the interactions that are part of the behavior of fans, both in relations between them and with the media industry. To this end, the Star Wars fans are studied, more specifically, the members of the Jedi Council of Rio Grande do Sul (CJRS), so that through a consolidated and permanent empirical object, it became possible to investigate the behavior of this group in the convergence culture context where the interactions between them and the media market are changed.

A cultura da convergência abarca a questão tecnológica do fluxo de conteúdos, ocorrendo através de múltiplos suportes midiáticos e as questões de mudança de comportamento do público, que se apropria das redes digitais para buscar de diferentes experiências de entretenimento e de informação. Os sujeitos buscam um produto midiático que não se finde na sua própria exibição, mas sim proponha conteúdos que vão além de um único dispositivo de distribuição e necessitem do engajamento do público para que aconteçam efetivamente. Os fãs são personagens centrais da mudança na forma de operar da mídia de massa por serem pioneiros na adaptação às novas tecnologias de comunicação e informação e nos processos de produção e consumo participativos. A partir disso, esta pesquisa busca um olhar sobre as interações que fazem parte do comportamento dos fãs, tanto nas relações entre eles quanto com a indústria midiática. Para tanto, estudam-se os fãs de Star Wars, mais especificamente, os membros do Conselho Jedi do Rio Grande do Sul (CJRS), a fim de que através de um objeto empírico, consolidado e permanente se possa investigar o comportamento deste grupo no contexto de cultura da convergência, onde as interações entre eles e com o mercado de mídia são transformadas. / The convergence culture includes the technological issue of the content flow going through multiple media and the issues of changes in public behavior which appropriates itself of the digital networks seeking for different experiences of entertainment and information. The individuals look for a media product that doesn‟t finish itself in its own exhibition, but propose content that go beyond a single distribution device and require the engagement of the audience to actually happen. The fans are central characters in the change of mass media operating way because they are pioneers in adapting the new technologies of communication and information and in participatory processes of production and consumption. From this, this research seeks a look at the interactions that are part of the behavior of fans, both in relations between them and with the media industry. To this end, the Star Wars fans are studied, more specifically, the members of the Jedi Council of Rio Grande do Sul (CJRS), so that through a consolidated and permanent empirical object, it became possible to investigate the behavior of this group in the convergence culture context where the interactions between them and the media market are changed.

This study argues for a more widely-conceived cultural sphere that allows the complex and multifarious interactions of both English and Dutch cultures in the early modern period to be explored more fully. My lenses are the works of John Milton and Andrew Marvell, and the relations that they and their work had with the United Provinces and its people. The thesis has a two-part structure. The first half introduces Dutch contexts, being a brief introduction to major areas of early modern Dutch culture, while the second shows how these contexts were influential on, and reflected by, Milton and Marvell. The first four chapters therefore consider areas that had an impact on England and its political and literary writers. These include, in Chapter I, stereotypes and first impressions of the Dutch Republic in English travelogues; representations of the Dutch in these works often surfaced in satirical work on the Dutch during the Anglo-Dutch Wars. Another concern is the literary milieu of the United Provinces, including print culture, literary circles, and ideas of educational reform. Other chapters in Part I discuss two highly influential aspects of Dutch religious life, Arminianism and toleration - both of which had repercussions for Protestantism in England - politics and trade, in particular works on Dutch republicanism and trade, in which England became the United Provinces’ greatest rival. Part II then explores Dutch culture, nation and stereotyping in Milton and Marvell. It demonstrates the far-reaching involvement of Dutch printing culture, especially visible in the publication history of Milton’s Defenses. It also interrogates literary similarities in the works of two Dutch authors, Constantijn Huygens and Joost van den Vondel, with Milton’s Paradise Lost and Marvell’s Upon Appleton House, respectively. The last two chapters identify traces of Dutch Arminianism and toleration in Milton’s Samson Agonistes, Marvell’s Remarks, and Rehearsal Transpros’d, part I and II; and compare versions of republicanism in Samson Agonistes and Vondel’s Samson, of Heilige Wraak, as well as discussing Anglo-Dutch rivalry in their works. This thesis demonstrates the deep and abiding importance of Anglo-Dutch relations to the works of two canonical English authors. Literary, intellectual and politico-religious exchange between England and the United Provinces was more entrenched than it has previously been portrayed.