Relevant bibliographies by topics / John (1560?-1622)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'John (1560?-1622)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "John (1560?-1622)"

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Hamlin, William M. "Florio's Montaigne and the Tyranny of “Custome”: Appropriation, Ideology, and Early English Readership of theEssayes*." Renaissance Quarterly 63, no. 2 (2010): 491–544. http://dx.doi.org/10.1086/655233.

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AbstractEarly English readers of Michel de Montaigne (1533–92) annotated their copies of John Florio's (1553[?]–1625) translation with remarkable frequency and vehemence, creating a context within which printed appropriations of the essayist may be fruitfully examined. No topic intrigued these readers more than custom. Drawing from transcriptions of over 4,000 marginal annotations and situating the Montaignean borrowings of William Shakespeare (1564–1616), Sir Francis Bacon (1561–1626), and other English writers within a culture of active reader response, this essay treats the Montaignean acco
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Brand, Peter, and Bärbel Rudin. "1563 – ca. 1621." Daphnis 39, no. 1-2 (2010): 1–134. http://dx.doi.org/10.1163/18796583-90000795.

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Führender Kopf der kontinentalen Erwerbsmigration englischer Bühnenangehöriger im Zeitalter Shakespeares war der Prinzipal Robert Browne. Auf den Stationen seiner Laufbahn, insbesondere seit 1592 als Wegbereiter des Berufstheaters im deutschen Sprachraum, konturiert sich die logistische, administrative und geschlechterspezifische Praxis des Tourneebetriebs und der höfischen Engagements, ferner als Vorteil eine Paarung von performativer Kunstfertigkeit mit Kaufmannsgeist. Davon profitierte nach Landgraf Moritz von Hessen-Kassel und dem französischen König Henri IV auch der polnische Königshof a
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Richardson, R. C. "John Bruen of Stapleford (1560–1625) and his Biographer." Transactions of the Historic Society of Lancashire and Cheshire 166 (January 2017): 7–24. http://dx.doi.org/10.3828/transactions.166.4.

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Hair, P. E. H. "A Note on French and Spanish Voyages to Sierra Leone 1550–1585." History in Africa 18 (1991): 137–41. http://dx.doi.org/10.2307/3172059.

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Writing in the 1590s about Sierra Leone, André Alvares de Almada, a Cape Verde Islands trader who had probably at one time visited Sierra Leone, commended its peoples for being “unfriendly to the English and French,” not least by fighting John Hawkins—the latter remark obviously a reference to Hawkins' well-known visit in 1567/68. But when did the French visit Sierra Leone? Elsewhere I have cited the evidence for three French voyages to the Sierra Leone estuary in the later 1560s, probably in 1565, 1566, and 1567. I now analyze archive material published in two French works that appeared long
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Salmon, Vivian. "Some notes on the life and work of John Minsheu (1560–1627)." Historiographia Linguistica 30, no. 3 (2003): 259–72. http://dx.doi.org/10.1075/hl.30.3.02sal.

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Summary John Minsheu (1560–1627) has long been known to historians of lexicography as the author of an impressive comparative and etymological dictionary, Ductor in Linguas (1617). Less well known is his grammar of Spanish (1599), which is unusual for its time in displaying interest in socio-linguistic issues. This paper is intended to stimulate interest in the neglected grammar and to propose a solution to the mystery of Minsheu’s biography – a topic likewise overlooked in the literature. The paper ends with a set of proposals for further research.
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Hulse, Lynn. "The Musical Patronage of Robert Cecil, First Earl of Salisbury (1563–1612)." Journal of the Royal Musical Association 116, no. 1 (1991): 24–40. http://dx.doi.org/10.1093/jrma/116.1.24.

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‘Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.‘ So wrote John Dowland of Robert Cecil, first earl of Salisbury, in the dedicatory epistle of Andreas Ornithoparcus his Micrologus, published in 1609. Beneath the hyperbole natural to a dedication lie the essential characteristics of Cecil's musical patronage. The first part of this paper examines his royal entertainment of music in terms of the form and scale of his patronage and the ways in which music could be used within the patron-client relationship. The second part expl
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Barreiro, Emma Julieta. "De conversión y melancolía en la canción "Flow my Tears" de John Dowland (1563-1626)." Anuario de Letras Modernas 15 (November 3, 2010): 191–208. http://dx.doi.org/10.22201/ffyl.01860526p.2010.15.656.

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La riqueza musical de la obra de John Dowland (1563-1626) y su personalidad como el músico inglés más famoso de su época en Europa continúan siendo atractivos a principios del siglo XXI. Mi discusión desarrolla tres líneas principales: abordo las implicaciones de alteridad en la conversión de Dowland al catolicismo en el marco histórico de la Inglaterra protestante de finales del siglo XVI y principios del siglo XVII; propongo un análisis retórico textual y musical de su canción “Flow my Tears”, y subrayo los vínculos de esta canción con su ciclo de siete pavanas para laúd Lachrimae (1604). Mi
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Scheck, Thomas. "The Polemics of John Heigham and Richard Montagu and the Rise of English Arminianism." Recusant History 29, no. 1 (2008): 12–27. http://dx.doi.org/10.1017/s0034193200011821.

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The English Catholic apologist John Heigham (1568–1632) deserves to be better known in light of the significant historical consequences of his efforts in the field of Catholic apologetics. Heigham’s tract, The Gagge of the Reformed Gospel (1623) accused the Reformed Church in England of heresy and innovation and summoned the readers back to the Roman Catholic Church. This work was answered by Richard Montagu (1577–1641), the future bishop of Chichester and Norwich in his book, A New Gagg for an Old Goose (1624). Montagu’s book provoked a storm of controversy within the Church of England becaus
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Lambea, Mariano. "Apuntes sobre el conceptismo sacro en algunos villancicos de Joan Pau Pujol (1570 - 1626)." Revista de literatura 62, no. 123 (2020): 41. http://dx.doi.org/10.3989/revliteratura.2000.v62.i123.524.

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Pujol (*1570-✝︎1626), por Mariano Lambea. En el artículo se observan los rasgos fundamentales del estilo literario denominado «conceptismo sacro» y se aplican a los textos anónimos de algunos villancicos puestos en música por el compositor mataronés Joan Pau Pujol (*1570 - ✝︎1626). Por una parte, se intenta realizar una lectura y exegesis plausible de esos textos de temática eucarística y, por otra, se establece una confrontación con los de poetas coetáneos como Alonso de Ledesma (*c.l562 - ✝︎1633) y José de Valdivielso (*1560 - ✝︎1638). Evidentemente, se tiene en cuenta la obra cumbre de la e
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Oliveira, Paula Cristina, Ana Alexandra Ribeiro Coutinho De Oliveira, Elza Maria Alves De Sousa Amaral, and João Paulo Moura. "Uma Rota pelos Instrumentos de Cálculo." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 787–801. http://dx.doi.org/10.23925/2178-2911.2019v20espp787-801.

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Resumo O objetivo deste trabalho é dar a conhecer a evolução das ferramentas de apoio ao cálculo matemático. Começamos esta jornada cronológica pelos mecanismos mais rudimentares que só realizavam operações de adição e subtração, como por exemplo o ábaco e o Khipu. No séc. XVII, matemáticos como o escocês John Napier (1550- 1617), o inglês William Oughtred (1574-1660) e o francês Blaise Pascal (1623-1662) desenvolveram mecanismos cada vez mais sofisticados para realizar cálculos matemáticos avançados. Estes instrumentos foram sendo cada vez mais aperfeiçoados em termos
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Dissertations / Theses on the topic "John (1560?-1622)"

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Durand, Sylvain. "La récréation poétique : traduction et commentaire des Epigrammes de John Owen (1564 ?-1622)." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00921382.

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Les Epigrammes de John Owen (1564 ?-1622) constituent un ensemble unique dans la production néo-latine, tant par le nombre de pièces qui le composent, environ mille cinq cent, que par le niveau d'excellence atteint par le " Martial anglais " (gallois, plutôt) qui fit du monodistique l'instrument privilégié de son génie. Le recueil du poète, qui connut pendant plus d'un siècle un véritable rayonnement européen, reflète son époque de composition en bien des points : la préférence accordée à l'inspiration satirique et morale, le culte de la brièveté ingénieuse, la recherche du bon mot et le plais
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Stauffacher, John. "La Vie et l'oeuvre de John Smyth, 1570?-1612." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610070r.

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Stauffacher, John. "La vie et l'oeuvre de John Smyth (1570?-1612)." Strasbourg 2, 1987. http://www.theses.fr/1987STR20058.

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Le but de l'etude a ete d'organiser et clarifier les faits connus a present concernant la vie et les positions doctrinales de john smyth, appele le "se-baptiste", considere comme le pere du mouvement baptiste. Les diverses appreciations des historiens du mouvement sont presentees, particulierement concernant smyth. Son origine, ses etudes a cambridge, sa participation au mouvement separatiste, son immigration a amsterdam (1608) et sa brieve carriere interrompue par sa mort en 1612 font l'objet d'un chapitre. Le reste de l'etude examine les 12 ecrits de smyth les traitant selon les trois period
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Murray, Deborah A. ""Grammatical laments" in The Duchess of Malfi and The white devil." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9940.

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Jouy, Lemoing Françoise. "La mélancolie aux époques élisabéthaine et jacobéenne et à travers l'air au luth." Paris 7, 1986. http://www.theses.fr/1986PA070137.

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Le premier but de cette thèse est de mieux cerner le terme "mélancolie", si souvent employé a travers les ages. J'ai illustré ma démarche par une recherche plus approfondie d'une époque dans un lieu donne : l'Angleterre a l'époque élisabéthaine. Le second but est d'étudier la transposition de ce sentiment une fois défini, dans un univers différent, celui de la chanson accompagnée au luth de l'époque élisabéthaine. L'ouvrage est divisé en trois parties : la première propose un retour aux sources de la "mélancolie", depuis les paroles des maîtres antiques jusqu'à celles des médecins de la renais
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Oddie, Jonathan J. "Counterpoint, 'fuge', and 'air' in the instrumental music of Orlando Gibbons." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:eae0a0b5-9cf2-41af-bca0-eb8db9cfcb40.

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This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little atten
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Sanchez, Pérez Jorge Humberto. "El sentido de la libertad en la obra de John Locke." Master's thesis, Universidad Nacional Mayor de San Marcos, 2012. https://hdl.handle.net/20.500.12672/15650.

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Publicación a texto completo no autorizada por el autor<br>El documento digital no refiere asesor<br>Presenta un análisis comparativo entre los elementos de la teoría epistemológica postulada y defendida públicamente por John Locke, particularmente recogida en el Ensayo sobre el entendimiento humano, y la teoría política planteada por él en los Dos tratados sobre el gobierno civil. Tal análisis permite evaluar la coherencia entre uno y otro, pudiendo definir si, finalmente, ambos trabajos podrían presentarse bajo una perspectiva lógica y sistémica. Tal análisis tiene relevancia directa para el
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Scarinci, Silvana Ruffier. "Elementos para a interpretação da obra de John Dowland para alaude : (com enfase nas pavanas e galhardas)." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285094.

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Orientador: Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-24T20:16:50Z (GMT). No. of bitstreams: 1 Scarinci_SilvanaRuffier_M.pdf: 11017569 bytes, checksum: e84632145aa9888b58ebc7c3e9492424 (MD5) Previous issue date: 1998<br>Resumo: Esta dissertação pretende discutir a interpretação histórica focalizada na obra de John Dowland para alaúde. Utilizando exemplos escolhidos entre as Pavanas e Galhardas do autor, a dissertação constituí-se de reflexões sobre performance histórica e dos passos necessários a serem
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Walker, William J. (William Jared). "The Fantasias of John Dowland: An Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500694/.

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In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fanta
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Vacík, Patrick. "Interpretace renesanční loutnové hudby n a kytaru John Dowland a jeho fantazie pro sólo lo utnu." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-252302.

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This thesis offers a wide spectrum of information for potential interpreters of renaissance lute music on the guitar with a special view on compositions by John Dowland. First it is focused on the development of vocal music and its influence on the creation and evolution of instrumental music during the renaissance period, including works for the lute. The vita and a short view on the whole musical work of John Dowland introduce to the reader this very special person, whose two fantasies for solo lute - Fantasie No.1 and Farwell - are the main subject of this thesis. Transcriptions of both the
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Books on the topic "John (1560?-1622)"

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The queen's godson: Sir John Harington of Kelston, 1560-1612. Academica Press, 2011.

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Between worlds: A study of the plays of John Webster. W. Laurier University Press, 1987.

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Luckyj, Christina. The Duchess of Malfi: A critical guide. Continuum, 2011.

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Rogers, Hiromi T. Anjin - The Life and Times of Samurai William Adams, 1564-1620. Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9781898823858.

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The year is 1600. It is April and Japan’s iconic cherry trees are in full flower. A battered ship drifts on the tide into Usuki Bay in southern Japan. On board, barely able to stand, are twenty-three Dutchmen and one Englishman, the remnants of a fleet of five ships and 500 men that had set out from Rotterdam in 1598. The Englishman was William Adams, later to be known as Anjin Miura by the Japanese, whose subsequent transformation from wretched prisoner to one of the Shogun’s closest advisers is the centrepiece of this book. As a native of Japan, and a scholar of seventeenth-century Japanese
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John Webster, Renaissance dramatist. Edinburgh University Press, 2010.

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Regimens of the mind: Boyle, Locke, and the early modern cultura animi tradition. The University of Chicago Press, 2011.

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Rupert, Brooke. John Webster & the Elizabethan drama. McClelland, Goodchild & Stewart, 1996.

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Sir John Davies and the conquest of Ireland: A study in legal imperialism. Cambridge University Press, 1985.

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Spatial representations and the Jacobean stage: From Shakespeare to Webster. Palgrave, 2002.

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Writing the English Republic: Poetry, rhetoric, and politics, 1627-1660. Cambridge University Press, 1999.

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Book chapters on the topic "John (1560?-1622)"

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"John Smyth (c. 1570–1612)." In A Reader in Ecclesiology. Routledge, 2016. http://dx.doi.org/10.4324/9781315565118-54.

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Munday, Anthony, and British Drama 1533–1642: A Catalogue. "866: John a Kent and John a Cumber." In British Drama 1533–1642: A Catalogue, Vol. 3: 1590–1597, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.wiggins866.

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Shakespeare, William, and British Drama 1533–1642: A Catalogue. "1043: King John." In British Drama 1533–1642: A Catalogue, Vol. 3: 1590–1597, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.wiggins1043.

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Bale, John, and British Drama 1533–1642: A Catalogue. "64: King John." In British Drama 1533–1642: A Catalogue, Vol. 1: 1533–1566, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2011. http://dx.doi.org/10.1093/oseo/instance.wiggins64.

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British Drama 1533–1642: A Catalogue. "911: Sir John Mandeville." In British Drama 1533–1642: A Catalogue, Vol. 3: 1590–1597, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.wiggins911.

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Wanley, Humfrey. "156 To John Covell 19 November 1715." In Letters of Humfrey Wanley: Palaeographer, Anglo-Saxonist, Librarian, 1672–1726, edited by P. L. Heyworth. Oxford University Press, 1989. http://dx.doi.org/10.1093/oseo/instance.00048836.

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Elliott, Mark W. "Spiritual Theology in Bruce, Howie, Johnston, Boyd, and Leighton." In The History of Scottish Theology, Volume I. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198759331.003.0015.

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This chapter concerns itself with how Scottish Reformed theology could go in a different direction from that of the polemical and the systematic. The five theologians considered, namely Robert Bruce (1554–1631), Robert Howie (1565–1641), John Johnston (1565–1611), Robert Boyd (1578–1627), and Robert Leighton (1611–84), all evidence a firm knowledge of the latter and should not be seen as reacting against the theological mainstream, but rather as bringing Reformed theology into dialogue with principles and practices of the Christian life as well as biblical exegesis. Often writing and thinking in a way that shows ‘humanist’ training, they arrive at something that can best be called ‘Spiritual Theology’. In the course charted here, this grows from being located somewhere in the ‘background’ theological method to being foregrounded in the content. There are clear signs of strong continental influence, to a varying degree.
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Deloney, Thomas, and British Drama 1533–1642: A Catalogue. "1030: John for the King." In British Drama 1533–1642: A Catalogue, Vol. 3: 1590–1597, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.wiggins1030.

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British Drama 1533–1642: A Catalogue. "868: Robin Hood and Little John." In British Drama 1533–1642: A Catalogue, Vol. 3: 1590–1597, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2013. http://dx.doi.org/10.1093/oseo/instance.wiggins868.

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Shepherd, Luke, and British Drama 1533–1642: A Catalogue. "179: John Bon and Mast' Parson." In British Drama 1533–1642: A Catalogue, Vol. 1: 1533–1566, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2011. http://dx.doi.org/10.1093/oseo/instance.wiggins179.

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