Dissertations / Theses: 'Jacobean'

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James, Anne Dorothy Gwen. "Jacobean patristics." Thesis, University of Sheffield, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632736.

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Frost, C. M. "The problem of evil in Jacobean drama : Studies in the theological assumptions of select Jacobean dramatists." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372651.

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Pearce, A. S. Wayne. "John Spottiswoode, Jacobean archbishop and statesman." Thesis, University of Stirling, 1998. http://hdl.handle.net/1893/2277.

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This main aim of this thesis is to conclusively demonstrate that John Spottiswoode was one of the most important churchman in early modern Scotland. He was, it will be shown, the most authoritative and impressive of Scotland's post-Refonriation bishops. Spottiswoode was the principal ecclesiastic in James VI's reconstruction of an episcopal church in Scotland after 1603 when he was appointed Archbisiop of Glasgow. This was followed by his prestigious translation to the metropolitan see of St Andrews in 1615 from where he presided over those controversial liturgical reforms of the succeeding years of the Jacobean era. Moreover, as a prominent member of the Scottish government he was heavily involved in secular politics and administration throughout the absentee kingship of James VI and that of his son, Charles I. This study, however, will confine itself to charting the archbishop's ecclesiastical and political ascendancy and involvement within the Scottish Jacobean church and state. Although Spottiswoode was without question a loyal supporter of the crown, it will be shown that he was no sycophant. Therefore, it is necessary to provide an analysis of the qualities and characteristics that made Spottiswoode such an influential figure and beneficiary of royal largesse between 1603 and 1625. Through focusing on the activities and objectives of Archbishop Spottiswoode throughout the reign of James VI, this thesis also aims to challenge the popular notion that the Church of Scotland functioned efficiently and harmoniously throughout the reign of"rex pacificus". Furthermore, the idea that an absolutist state existed in Scotland after the regal union will be exposed as fanciful.

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Pittman, Susan. "Elizabethan and Jacobean deer parks in Kent." Thesis, University of Kent, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544035.

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Culhane, Peter. "Livy in Elizabethan and early Jacobean literature." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615738.

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Daunt, Catherine. "Portrait sets in Tudor and Jacobean England." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54260/.

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This thesis examines the taste for sets of easel portraits in England during the reigns of Elizabeth I and James VI and I. Looking primarily at sets of historical figures, particularly English kings and queens, the thesis aims to assess the extent of the fashion and identify the audience for such sets. The material qualities of the paintings are discussed and the methods of production, as well as the function and meaning of specific sets. The first chapter examines the evidence for the earliest portrait sets of this type in England and suggests that innovations in art and architecture at Court had a significant influence on the development of the genre. The earliest evidence for portrait sets in aristocratic collections is examined and specific examples of early known sets are discussed. The second and third chapters look at the intellectual context in which the fashion for portrait sets emerged. It is suggested that humanist ideas about the display of portraiture and related artistic trends on the continent contributed to the emerging demand for this type of painting in England. It is argued that the widespread interest in history, genealogy and antiquarianism at this time led to a demand for images of historical figures. In addition, it is suggested that portrait sets were often used to communicate messages of legitimacy and authority by implying that a family or institution had an illustrious and lengthy lineage. The final two chapters discuss known portrait sets in detail and include case studies of specific sets. The fourth chapter focuses on sets of English kings and queens and the fifth chapter on sets of illustrious figures drawn from various categories of famous men and women. The latter includes case studies of a set formerly at Weston, Warwickshire and a set at Knole, Kent.

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Oram, Yvonne. "Older women in Elizabethan and Jacobean drama." Thesis, University of Birmingham, 2002. http://etheses.bham.ac.uk//id/eprint/1778/.

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This thesis explores the presentation of older women on stage from 1558-1625, establishing that the character is predominantly pictured within the domestic sphere, as wife, mother, stepmother or widow. Specific dramatic stereotypes for these roles are identified, and compared and contrasted with historical material relating to older women. The few plays in which these stereotypes are subverted are fully examined. Stage nurse and bawd characters are also older women and this study reveals them to be imaged exclusively as matching stereotypes. Only four plays, Peele’s The Old Wives Tale, Fletcher’s Bonduca, and Antony and Cleopatra and The Winter’s Tale, by Shakespeare, reject stereotyping of the central older women. The Introduction sets out the methodology of this research, and Chapter 1 compares stage stereotyping of the older woman with evidence from contemporary sources. This research pattern is repeated in Chapters 2-4 on the older wife, mother and stepmother, and widow, and subversion of these stereotypes on stage is also considered. Chapter 5 reveals stereotypical stage presentation as our principal source of knowledge about the older nurse and bawd. Chapter 6 examines the subtle, yet comprehensive, rejection of the stereotypes. The Conclusion summarises the academic and ongoing cultural relevance of this thesis.

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Rutherford, Sarah C. "Black farce in Jacobean and 1960s theatre." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/22613.

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This thesis examines black farce as a genre of simultaneous and equally (though precariously) balanced farce and horror, characterised by excess, physicality, taboo-breaking, ambivalence and disharmony. Black farce provokes an uncertain audience response, in which a combined sense of shock and laughter leads to feelings of discomfort and disorientation. Building upon this definition of the genre, I argue that the reason for its appearance in the Renaissance and its re-emergence in the 1960s lies in a paradoxical sense of exhilaration and horror felt by playwrights in response to bewilderingly rapid social change and the dismantling of many established structures and codes. In the first section of the thesis, the genre of black farce is defined and studied through its correspondences with and distinctions from closely related genres with which it coincides and overlaps. The precise nature of the relationship between the plays of the two periods is then demonstrated through the analysis of their blackly farcical treatment of four broad, central themes: madness, violence, death and sex. As well as revealing some close specific parallels between particular Jacobean and 1960s plays, this analysis locates the dramatic constructions, of those themes within their respective sociological contexts, thus indicating the various factors than gave rise to black farce's particular combination of exhilaration and despair in societies more than three and a half centuries apart. In the final section, a detailed examination of the professional revivals of Jacobean plays during the 1960s shows how the fruitful contact between new and old highlighted and enriched the relationship between them.

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Brunning, Alizon. "Signs of change in Jacobean city comedy." Thesis, University of Central Lancashire, 1997. http://clok.uclan.ac.uk/19035/.

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This thesis is concerned with a study of a particular genre, Jacobean city comedy, in relation to its socio-economic and religious context. It aims to show that the structural forms of city comedy share similarities with structures in Jacobean social consciousness. By arguing that the plays are productions of a material age this study suggests that these structures are manifestations of ideological changes brought about by two related systems of thought: capitalism and Protestantism.

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Schurink, Fred. "Education and reading in Elizabethan and Jacobean England." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416809.

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Payne, Helen Margaret. "Aristocratic women and the Jacobean Court, 1603-1625." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395983.

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Aristocratic women were integral to Jacobean court life and actively involved in royal service, in the ceremonial of court and state, in the pursuit of financial benefit, in marriage strategies and court family networks, and in court, foreign and religious politics and patronage. The time scale of the thesis encompasses James VI's reign as James I of England, 1603-1625, as court life for aristocratic women did not end with the death of his queen consort, Anne of Denmark. As ladies-in-waiting and/or the kin or clients of powerful men at court, aristocratic (and other elite women) could exercise a degree of power, authority and influence and participate both formally (through their Privy Chamber posts) and informally in the life and functions of the Jacobean court. This study moves beyond, reappraises, and revises recent published work on the Jacobean court by literary scholars, which focuses on the court masque, literary pursuits and cultural patronage of a small number of aristocratic court women, and extends recent published work by historians who have included women in their studies of the Jacobean court. Together with the insights gained through extensive new archival research, this study provides a broader and deeper understanding than hitherto available, of the significant roles these women could play at court and the place of the court in their lives. Moreover, this view of the Jacobean court from a female perspective reveals much about that institution, about the nature of politics and patronage beneath the level of high politics and the careers of great ministers and royal favourites, and about early seventeenth century British aristocratic society and its relationship with the monarchy.

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Ahmed, Shokhan Rasool. "The staging of witchcraft in the Jacobean theatre." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/28977.

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This thesis investigates witchcraft during the reign of King James VI and I when belief in witchcraft was widespread in Scotland and England, and there was a growing tendency for dramatists to use witchcraft materials in their plays. The writings of Reginald Scot and King James I, alongside modern scholarly work by Keith Thomas, Allen Macfarlane, Diane Purkiss and others, will be considered to analyse beliefs about supernatural power and, in particular, witchcraft and witches’ activities. This study is principally concerned with the staging of drama at the Blackfriars theatre, especially from the time that the King’s Men leased it in 1609. The thesis examines Jacobean plays which were staged at the Blackfriars, in comparison to Elizabethan (e.g., Dr Faustus, Friar Bacon and Friar Bungay, and Mother Bombie), and post-Jacobean plays (e.g., The Late Lancashire Witches) which were also performed there. The nature and status of stage directions in these plays will also be investigated, paying particular attention to the status of stage directions in printed texts, and whether these were originally written by the playwrights themselves or were revised or supplied by editors, scriveners or members of the theatre companies. Finally, five case studies consider thematically-related plays performed by the King’s Men at the Blackfriars. Several questions will be investigated. Why is it particularly important to look at the visual depiction of witches in theatre? What is the difference when a supernatural character ‘enters’ the stage via flying or platform traps and does it make any difference to the audience when supernatural characters use one form of entrance rather than another? The thesis will also evaluate how the technology of the Blackfriars playhouse facilitated the appearance of spirits, witches, magicians, deities and dragons on stage. The last chapter deals with native witches and ‘cunning women’ on stage and also considers why elderly women in early modern England were more prone to accusations of witchcraft than the young, and why a number of harmless women were tortured, including midwives and healers.

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McCarthy, Jeanne Helen. "The children's companies Elizabethan aesthetics and Jacobean reactions /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983291.

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Bounahai, Najib. "Moors in Elizabethan/Jacobean entertainments : race, performance and politics /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2001.

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Thesis (Ph.D.)--Tufts University, 2001.
Adviser: Barbara Freedman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 191-207). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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Ulmer, Daniel Clay. "Elizabethan and Jacobean architecture : the evolution of a style." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22400.

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Fincham, Kenneth Charles. "Pastoral roles of the Jacobean episcopate in Canterbury province." Thesis, University College London (University of London), 1985. http://discovery.ucl.ac.uk/1363643/.

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This thesis investigates the theory and practice of episcopal government in the English Church between 1603 and 1625. The source material consists of the records of seventeen diocesan archives in the province of Canterbury, in conjunction with primary printed and manuscript sources, such as sermons, theological treatises and polemics, and, where appropriate, the records of central ecclesiastical and secular government. It is proposed that the dominant image and practice was of the bishop as preaching pastor. The exemplar of the Apostolic bishop, which was set out in Pauline writings, could not be easily adapted to the realities of seventeenth century church government. Not merely had the episcopal office accumulated a series of non-pastoral functions, but its government also had a primarily judicial character. Nevertheless it is argued that, as a group the Jacobean episcopate managed to incorporate many aspects of the Pastoral ideal of St. Paul into their diocesan rule. Most bishops resided in their sees, attended their visitations in person, took a part in the running of their consistory courts, preached fairly regularly and supervised the clergy entrusted to their care. Extraneous circumstances helped to provide the right conditions in which this pastoral government could flourish. The divisive issue of ceremonial nonconformity, which could so easily sour relations between the bishop and his flock was largely stilled by James I's accommodating attitude to 'moderate' nonconformists and the consequent de facto toleration of occasional conformity. The King also supported the proselytising mission of the Church, and he restrained the hostility of Arminian prelates both to excessive preaching and to ceremonial nonconformity. This thesis, in short, seeks to demonstrate the strength and vitality of the Pastoral ideal among the Jacobean episcopate.

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Oh, Seiwoong. "The Scholarly Trickster in Jacobean Drama: Characterology and Culture." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.

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Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.

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Metcalf, John Maurice Carleton University Dissertation English. "The presentation of Jacobean witchcraft beliefs in Shakespeare's Macbeth." Ottawa, 1992.

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Munro, Lucy. "Children of the Queen's revels : a Jacobean theatre repertory /." Cambridge : Cambridge university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40137350b.

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Ward, T. "Compound magic : Virtuosity, theatricality and the experience of theatre in the Jacobean Period." Thesis, University of East Anglia, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235190.

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Cooper, Tarnya. "Memento mori portraiture : painting, Protestant culture and the patronage of middle elites in England and Wales 1540-1630." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366099.

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Worthington, David. "Scottish clients of the Habsburgs, 1618 to 1648." Thesis, University of Aberdeen, 2001. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU602037.

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The last years of Jacobean rule coincided with the appearance of a number of Scottish soldiers at the three major Habsburg centres of power: Madrid, Brussels and the Imperial court (the last of which was still peripatetic but increasingly centred in Vienna). Recognising the geographical complexity involved in studying such individuals, the thesis seeks to contribute to the debates of historians of early modern Europe with respect to three issues: the problem of 'multiple kingdoms', the existence or otherwise of a seventeenth century 'general crisis', and the nature of political patronage at the regal court. The first chapter deals with the historical background. The remainder of the argument is divided into two sections, the first of which relates to the 1618-35 period. It covers the lives of men such as Colonel William Semple, his nephew, Hugh Semple S.J., and ambitious sojourners such as the seventh Earl of Argyll. The rise and decline of these individuals in influencing Spanish foreign policy is the subject of chapters two and three respectively. Chapter four introduces several Scottish 'military enterprisers' who rose to prominence in the service of the 'Austrian' branch of the dynasty after 1633. The second part of the thesis deals largely with the post-1635 life of one of this latter group, Walter Leslie. His significance will become obvious, yet has been ignored by previous historians. In fact, the court careers of all these individuals, elucidated here in detail for the first time, emphasise that the accession of James VI to the English throne by no means marks the end of the contribution of Scotland to continental European political and diplomatic history.

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O'Callaghan, Michelle Francis. "Three Jacobean Spenserians : William Browne, George Wither and Christopher Brooke." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386504.

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Armstrong, Catherine Jane. "'Error vanquished by delivery' : elite sermon performance in Jacobean England." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496181.

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Loomba, A. "Disorderly women in Jacobean tragedy : Towards a materialist-feminist critique." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378281.

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Grimmett, Roxanne. "Staging silence : the adulteress in Jacobean drama and morality literature." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445445.

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Cole, Emily V. "The state apartment in the Jacobean country house, 1603-1625." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6337/.

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This thesis explores the state apartment in the Jacobean country house – its status, function, use, planning, decoration and furnishing. It does so against various different backgrounds. Firstly, that of the royal progress, during which Tudor and early Stuart monarchs – in particular, James I – would visit private residences around the country. The nature of such visits are explored, using a large amount of primary evidence and drawing upon a full itinerary of James I's reign, compiled for the first time as part of this thesis. A different context, that of royal palaces, is then considered, particular focus being given to the use and accessibility of state apartments. This subject is further explored within the context of the noble household. The use of state rooms beyond and during royal visits is investigated, again using much primary evidence that has been largely neglected before now. It is shown that state apartments in country houses were the focus for elaborate ceremonial, and that they were used for the reception and accommodation of various honoured guests, not just members of the royal family. In the last two chapters of the thesis, the planning, decoration and furnishing of the country house state apartment is considered. It is argued that arrangements developed significantly between the Henrician and Jacobean periods, the state suite evolving from a comparatively simple (and sometimes haphazard) collection of spaces to a cohesively planned and integrated suite – a true apartment. This argument is based on the detailed analysis of 29 sixteenth-century houses (including Thornbury Castle, Theobalds and Hardwick Hall) and 9 houses of the Jacobean period (including Audley End, Hatfield House and Bramshill). Such a study clearly demonstrates that state apartments were undoubtedly the best rooms in a country house, and were used to reflect and further an owner's status and prestige.

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González-Medina, José Luis. "The London setting of Jacobean city comedy : a chorographical study." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670278.

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Daye, Anne. "The Jacobean antimasque within the masque context : a dance perspective." Thesis, University of Roehampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515215.

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Mansfield, Richard G. "The Protean player : the concept and practice of doubling in the plays of Shakespeare and his contemporaries c. 1576-1631." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327765.

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Rigali, Amanda. "The plays of Fulke Greville in context." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325814.

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Hiscock, Andrew William. "Problems of authority and the state in seventeenth century drama : Shakespeare and Racine considered." Thesis, University of Bristol, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285898.

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Kometani, Ikuko. "Dismembering and remembering bodies : representation of rape in early Jacobean England." Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556459.

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I shall argue that rape, sexual threat and sexual violence in the early Jacobean drama fascinate the playwrights not only because they are the psychologically and socially interesting phenomena which break boundaries such as those between male and female, life and death, rape and marriage, the private and the public, but because the dynamic of sexual violence and its repetitive enaction on stage provide a complex analogy to theatrical performance and language, together with response in a culture that tends to conceive of theatrical experience in erotic terms, and of certain sexual impulses as highly theatrical in character. Both rape and theatrical discourse violate the "natural" socio-political, and gender hierarchy. Theatrical enactment, I shall argue, is a particularly appropriate way of depicting rape as a violent and emotional event, and conversely, rape attracts dramatists because it provides a way of reflecting upon some of the more troubling aspects of the relationship between the beholder and the beheld. The following dramatic works will be examined: Thomas Middleton's The Revengers Tragedy, The Maiden's Tragedy, Thomas Heywood's The Rape of Lucrece, John Fletcher's The Tragedy of Bonduca, The Tragedy of Valentinian, and The Queen of Corinth.

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Elder, Hilary Elizabeth. "The Song of Songs in late Elizabethan, Jacobean and Caroline poetry." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/2165/.

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This thesis is about reading. Working on the understanding that all texts read other texts, it aims to uncover something of how English poets from 1590-1650 read the Song of Songs, by analyzing when and how they use it in their poetry. By looking at poetic readings, rather than theological ones, it also explores the connections and distinctions between reading literature and reading Scripture. As both Scripture and lyric love poetry, the Song of Songs has participated in theological and literary discourse over a long period. The Introduction gives background on both kinds of reading, and how they have been applied to the Song of Songs. It also sets out the structure of the thesis. Chapter 2 surveys theological writing about the Song of Songs produced during the period. The material includes sermons, commentaries, household advice books, hymns and translations, including poetic translations. There is a stable core of interpretation, which reads the Song as primarily about the relationship between Christ and the Church, or the individual soul, or both. Within this stable core, however, there is a wide variety of interpretations. Chapters 3-5 are themed, and look at how poets handle the three topics of the feminine voice, beauty and desire when they read the Song of Songs. The first poet considered in each chapter is Aemilia Lanyer, who provides a plumb-line for the exposition. As a poet seeking elite patronage, Lanyer is typical of her age in many important respects; but she also challenges expectations about poets of the period. The other poets considered are Shakespeare, Southwell, Mary Sidney, Countess of Pembroke, Spenser, Donne and Crashaw. The Conclusion considers what light these poetic readings shed on the relationship between Scripture and literature.

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Painting-Stubbs, Clare. "Abraham Fleming : writer, cleric and preacher in Elizabethan and Jacobean London." Thesis, Royal Holloway, University of London, 2011. http://repository.royalholloway.ac.uk/items/89fa6719-8bde-2470-3a26-e850544e284e/9/.

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Since his death in 1607, Abraham Fleming has never been completely forgotten about. This thesis covers all aspects of Fleming's life. It begins with his time at Cambridge and the relationships he forged there. It studies his varied and sometimes groundbreaking contributions to the books associated with him (with a focus on his English texts and translations). It also covers his ordination into the Church of England and subsequent career as a chaplain to Charles Howard, earl of Nottingham. It also elucidates his previously unknown life as a curate in the parish of St Nicholas, Deptford and as a deacon and priest St Pancras, Soper Lane, and finally his sermons at Paul's Cross in the grounds of St Paul's Cathedral. Fleming's legacy of at least 52 printed books, which includes original godly protestant treatises, English translations of Latin and Greek classical works, and books commemorating unusual occasions, have ensured that his name lived on in bibliographic catalogues. Since the 1950s a few scholars have considered Fleming's work on Holinshed's Chronicles as significant contributions to the text. However, the subsequent articles that have been written about him have been narrow in scope and at times unreliable. Recent studies of Fleming have considered him only as a minor writer, yet this thesis demonstrates that he was a literary figure of considerable significance. Fleming made an important contribution to the emerging public sphere, as foregrounded by Jurgen Habermas, that was lauded by his contemporaries but he has largely slipped from view. Before this doctoral research little was known about Fleming's career as a preacher in the Church of England, a career in which he proved just as diligent as when he was a “learned corrector” of books. The aim of this thesis has been to throw fresh light on the multi-faceted career of Abraham Fleming and establish him as a leading figure in late-Sixteenth century political and print culture.

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Euridge, Gareth M. "A proprietary vice : incest, class, and gender on the Jacobean Stage /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204280064.

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Westlake, David. "Positive representation of Inns of Court lawyers in Jacobean city comedy." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/4530.

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This thesis examines representations of lawyers and law in examples of Jacobean city comedy, taking into account certain contemporary developments in the legal profession and the law in England. The period covered is 1598-1616. The thesis questions the conventional interpretation of city comedy as hostile to the legal profession. It suggests the topic is more complex than has been assumed, arguing that city comedy makes direct and indirect positive representation of Inns of Court lawyers, who are to be distinguished from attorneys (newly segregated in the Inns of Chancery), amateur quasi-lawyers, and university-educated civil lawyers. It is proposed that city comedy represents Inns of Court lawyers positively in two ways. Firstly, by means of legal content: representations of developments in the profession and the law demonstrate a wish to connect with the young lawyers and students of the Inns of Court, and reflect a contemporary drive by them for increased organization and regulation. Secondly, by means of literary form: ostensibly pejorative representations need not be taken at face value; instead, they may be found to be ironic. The main proposed contributions to knowledge are: that Inns of Court lawyers were a favoured part of the target audience of the private playhouses, making it questionable that they would be represented negatively in city comedy; that lawyers as represented in city comedy are not a single or a simple category; that representation of lawyers is inflected by the various forms and impulses of city comedy; and that city comedy incorporates some reflection of the increasing professionalization of legal practice in the period.

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Hunt, Cole. "The Great European Witch Hunt in Elizabethan England and Jacobean Scotland." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/297652.

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The Great European Witch Hunt swept across Europe from the fifteenth through seventeenth centuries, but the nature of these witch hunts differed from country to country. These differences can be attributed to the fulfillment, or lack thereof, of the preconditions to the Great European Witch Hunt: the adoption of the inquisitorial judicial procedure, the use of torture, the movement of witchcraft trials to secular and local courts, a belief in maleficium facilitated by a pact with Satan, a belief that witches met in large groups to perform anti-human rituals at the sabbat and the belief in the witch’s ability to fly to such Satanic meetings. These preconditions were largely fulfilled on the Continent, while they were only partially fulfilled in England and in Scotland, and more-so in Scotland than in England. The result is that the Great European Witch Hunt took a much more extreme form on the European Continent than it did in England or Scotland, and it was more severe in Scotland than in England.

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Working, Lauren Noemie. "Savagery and the State : incivility and America in Jacobean political discourse." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11350/.

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This thesis examines the effects of colonisation on the politics and culture of Jacobean London. Through sources ranging from anti-tobacco polemic to parliament speeches, colonial reports to private diaries, it contends that the language of Amerindian savagery and incivility, shared by policy-makers, London councillors, and colonists alike, became especially relevant to issues of government and behaviour following the post-Reformation state’s own emphasis on civility as a political tool. Practices such as tobacco-smoking and cannibalism were frequently invoked to condemn the behaviour of disobedient English subjects and to encourage orthodoxy, while justifying a more extensive level of interference in the habits and customs of subjects as well as native peoples. By focusing on the interrelation between the state’s twin projects of civilising others and consolidating authority within the realm, this thesis challenges the scholarly tendency to view colonisation as existing outside state politics prior to the development of empire, and locates a distinct vogue for cultivation – both of landscapes and of the civil subject – that played a role in James’ own conception of sovereignty. This engagement with America and its indigenous populations indicates a significant colonial moment in London in the 1610s and 1620s, located in converging political and ‘civilising’ centres including Whitehall, parliament, and the Inns of Court. Moreover, a growing familiarity with colonial affairs did not just manifest itself in the rhetoric or the actions of colonists and project promoters, but can be used to identify changing modes of consumption and shifting attitudes in London towards sociability and the articulation of state authority. These initiatives increased the scope for political participation in the metropolis, while shaping the development of civility and status in relation to cultural difference.

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Wortham, Simon. "Darkness and wonder : representations of gold in the Jacobean optic of power." Thesis, University of Sussex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335500.

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Salamore, Christopher. "Apparitions, authors, and rhetorical shadows: literary ghosts in Elizabethan and Jacobean literature." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547800.

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Wood, Amanda Leigh. "Anti-Catholic polemic in Jacobean print culture contextualizing Westward for Smelts (1620) /." Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Summer/Theses/WOOD_AMANDA_6.pdf.

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Osborne, Kate. "Illuminating the chorus in the shadows : Elizabethan and Jacobean Exeter, 1550-1610." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24298.

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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.

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Bassan, Rachele Svetlana <1996&gt. ""Thinke nothing true": Cross-Dressing in Late Elizabethan and Early Jacobean Drama." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18243.

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This thesis analyses the role of cross-dressing in late Elizabethan and early Jacobean drama, focusing on six comedies of the period. Contrary to previous studies, which underlined the transgressive qualities of onstage cross-dressing, this work will stress its role as a metatheatrical device for the upholding of social norms. In these comedies, references breaking the illusion of all-male cast conventions highlight the liminal features of theatrical travesty and of the theatrical "as-if" dimension. However, both such carnivalesque qualities and the comic framework have been shown to be deeply conservative, and these comedies reinforce the established social order also by restating the appropriateness of certain behaviours for each gender. This process seems to "under-power" assertive female characters and also to question previous assumptions on the homoerotic safety of the theatrical dimension.

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Taylor, J. A. "The literary presentation of James I and Charles I, with special reference to the period c.1614-1630." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371751.

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46

Callaghan, D. C. "The construction of the category of 'woman' in Shakespeare's King Lear and Othello and Webster's The Duchess of Malfi and The White Devil." Thesis, University of Sussex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373909.

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This thesis addresses fissures in language, ideology and subjectivity as they are manifested in the dramatic construction of the category of 'Woman' in four major Jacobean texts. The first section of my project deals with the way 1n which the opposition of male and female underlies the perception and construction of order at every level. In a scheme of thought characterized by the use of antithesis and analogy, the opposition of gender proves to be one of the most richly extensible. All analogies are connected by the great chain of thought which consti tutes the Great Chain of Being. Once any element 1n this scheme is undermined there is the danger (or for my purposes, the analytic advantage) that there will be something like a domino ef:ect. That is to say, relations of power become more visible at the problematic i~tersec~ion of gender. In section two, I propose a construction of tragedy rela~2d to female transgression as an alternative to the '.va'! in which feminist critics tend to equate gender with genre, dubbing comedy 'feminine' and tragedy 'masculine.' My construc~ion also counters the ~raditional notion of tragedy as a ~ixed, pr i vi leged genre category. I f',lrther examine the construc~ion of woman in tragedy through absence, silence and utterance. The final sect.ion explores the nature of the cont':'nuous process of gender di£ £erentiation which serves to produce and maintain gender categories. Gender differentiation occurs most manifestly in misogynistic discourse which I address using Lacan I s theory of the construction of the human subject. The production of misogyny in its various forms constructs the feminine as 'Other,' and 1n this its function can be seen as one of policing the boundaries 'of gender ideologies. Here I also treat the construction of masculinity against femininity since the production of the former is dependent upon the latter. The preceding analyses serve to break down unities of gender by recognizlng that discourse simultaneously constructs and disperses concepts of gender. Gender is thus crucial '=.0 the cuI tural dynamic of Renaissance drama, and in this we find authority for new direc~ions in feminis~ literary studies.

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Gibson, Marion Heather. "Taken as read? : A study of the literary, historical and legal aspects of English witchcraft pamphlets 1566-1621." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361338.

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Dorman, Marianne. "Lancelot Andrewes (1555-1626) : mentor of Reformed Catholicism of the Post-Reformation English Church." Thesis, University of Bristol, 1996. http://hdl.handle.net/1983/b2e9f4a2-7f1a-40d0-a023-13dbe382057f.

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Payne, Helen M. "Aristocratic women and the politics of marriage at the Jacobean court, 1603-1625 /." Title page, contents and preface only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arp3462.pdf.

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Crankshaw, David James. "Elizabethan and early Jacobean surveys of the ministry of the Church of England." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368511.

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Dissertations / Theses on the topic 'Jacobean'

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