Actions on the case for defamation

2019 ◽  
pp. 686-716
Author(s):  
John Baker
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Ecclesiastical Courts

The orthodoxy before 1500 was that the only remedy for defamatory words was a prosecution in the ecclesiastical courts. But it was a hard to deny a remedy if untrue words caused temporal damage, since damages could not be recovered in those courts. This chapter shows how actions on the case came to be available for causing temporal loss by words, and how indeed they became so common in the sixteenth century that the judges tried to discourage them by construing apparently defamatory words in a milder sense (‘in mitiori sensu’). Objections that such actions should not lie in respect of spiritual subject-matter, such as heresy or fornication, were overruled where temporal damage resulted. The final cases in the chapter show that the distinction between libel and slander was not the same, in its consequences, as that which became settled in later times.

scholarly journals Post-Reformation Reformed sources and children

2008 ◽  
Vol 64 (1) ◽  
Author(s):  
A.C. Neele
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Protestant Reformation ◽  
Significant Interest ◽  
The Subject

This article suggests that the topic “children” received considerable attention in the post-Reformation era – the period of CA 1565-1725. In particular, the author argues that the post-Reformation Reformed sources attest of a significant interest in the education and parenting of children. This interest not only continued, but intensified during the sixteenth-century Protestant Reformation when much thought was given to the subject matter. This article attempts to appraise the aim of post-Reformation Reformed sources on the topic “children.”

Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century

1994 ◽  
Vol 13 ◽  
pp. 1-63 ◽  
Author(s):  
Howard Mayer Brown
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Ancient Greece ◽  
World Order ◽  
Pierre De Ronsard ◽  
Ideal Form ◽  
Literary Sources ◽  
The World ◽  
The Subject ◽  
Crucial Part

By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictum ut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.

FemaleComplaintes: Laments of Venus, Queens, and City Women in Late Sixteenth-Century France*

2001 ◽  
Vol 54 (3) ◽  
pp. 801-845 ◽  
Author(s):  
Kate van Orden
Keyword(s):  
Civil War ◽  
Sixteenth Century ◽  
Subject Matter ◽  
Religious Wars ◽  
Female Voices ◽  
Love Lyric ◽  
Cheap Print ◽  
Musical Forms

This essay studies a large repertory of French laments (complaintes,) written in the voices of women. As a feminine counterpart to masculine love lyric, thecomplaintearose from an alternative poetics, treating subjects excluded fromfin amors, such as death, crime, and war. Essentially, lyric assigned erotic longing to men and mourning to women. The unusual subject matter accommodated by thecomplaintes, coupled with a set of material and musical forms locating them amid the cultures of cheap print, psalmody, and street song, ultimately embroiled them in the battles of the religious wars. Thus female voices came to trumpet confessional politics in songs that levied lyric, gender, and faith to serve in civil war.

scholarly journals Late Gothic (Antwerp) Mannerism: its Origins, Nature and Decline (a Review of the Literature)

2021 ◽  
pp. 83-94
Author(s):  
Stefaniia Demchuk ◽  
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Focal Points ◽  
Review Of Literature ◽  
Review Of The Literature ◽  
Comprehensive Review ◽  
Religious Context ◽  
The Subject ◽  
Unique Style

This essay does not strive to give a comprehensive review of literature on Antwerp Mannerism, but rather to summarize the focal points of discussions and to outline key roadmaps for further studies. The majority of scholars consider Antwerp Mannerism as a late Gothic style influenced by Italian Quattrocento. Its genesis, however, remains a subject of hot debates. If Hoogewerff argued on the German origins, Vandenbroeck attributed it to an inflow of provincial artists. Whatever were the origins, Expressionist shapes were not inherent to the early Netherlandish painting and the attempt to fuse them with ‘realism’ of the Flemish Primitives seemed a revolutionary breakthrough following the pictorial crisis of the 1480s. Despite a rift in chronology, Antwerp Mannerism has irrefutable similarities with the later Italian Mannerism. Thus exploration of the intellectual and religious context of early sixteenth-century Antwerp art similar to Max Dvořák’s approach can be another direction for further research of the Italian and Spanish Mannerism. The subject matter of Antwerp Mannerist art, too, remains largely unexplored. Dan Ewing’s breakthrough essay showed that the changes in iconography (such as reinvention of the well-known subject) could mark shifts in identity. By no means they are merely ‘anecdotic’ as Paul Philippot stated. What subjects were popular beyond the Adoration of the Magi and why? Were there any secular subjects? How did the iconography of Antwerp art reflect the intersection of different Netherlandish schools of art? How did later artists incorporate the pictorial inventions of the Antwerp Mannerists? Finding an answer to these and similar questions can provide a rich context for further studies on this ‘contrived’ but unique style.

Translation and Cultural Convergence in Late Sixteenth-century Scotland and Huguenot France

2019 ◽  
pp. 115-128
Author(s):  
Peter Auger
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Subject Matter ◽  
Modern Poetry ◽  
Cultural Relations ◽  
Cultural Convergence ◽  
Shared Identity ◽  
Early Modern Poetry ◽  
The Subject ◽  
The Common

Examining poetical exchanges between James VI of Scotland and the Huguenot courtier Guillaume de Saluste Du Bartas in the 1580s, Chapter 7 demonstrates how poetry contributed to diplomatic initiatives, and how diplomatic concerns fostered expressiveness in the composition and presentation of poems. Early modern poetry, especially poetry in translation, could contribute to building better international cultural relations. Ambassadors and elite political figures were sometimes involved in such poems as writers, translators, readers, dedicatees, or recipients. When they were, these poems could contain subtle gestures consistent with the cultural diplomatic aims to express shared identity and strengthen political ties. The poetic exchanges between James and Du Bartas in the 1580s contained many signals of the common literary and political culture in Scotland and Protestant France, signals that are found in the subject matter, prosody, diction, structure, and other poetic features of the verses that they exchanged. This chapter examines the poetic techniques that James and Du Bartas used for expressing cultural convergence between Scotland and France when translating and composing original verse for each other, and then shows how the print publication of their poems enabled a broader international community to participate in this cultural moment.

Defining Water in Natural Philosophical Texts

2020 ◽  
Author(s):  
Lindsay J. Starkey
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Natural Philosophy ◽  
Natural Occurrence ◽  
The Earth ◽  
Philosophical Texts ◽  
Proper Subject ◽  
Do So

This chapter explores some of the most frequently printed and widely circulated natural philosophical texts of the sixteenth century along with their medieval predecessors. It focuses on each author’s conception of water and his classification for why water did not flood the earth. This chapter argues that most of these authors did ultimately classify the dry land’s existence as a natural occurrence. However, it also shows that their arguments for this naturalness were longer and more convoluted than previous discussions, incorporating redefinitions of the proper subject matter of natural philosophy to do so. These longer, more complex discussions suggest that water was of more particular interest to sixteenthcentury authors of natural philosophical texts than to previous ones.

The Commons Supplication against the Ordinaries in the Light of some Archidiaconal Acta: The Alexander Prize Essay

1971 ◽  
Vol 21 ◽  
pp. 61-77 ◽  
Author(s):  
Margaret Bowker
Keyword(s):  
Sixteenth Century ◽  
Henry Viii ◽  
Legislative Power ◽  
Ecclesiastical Courts ◽  
The Commons ◽  
Royal Supremacy ◽  
A Charge ◽  
The Church ◽  
Prize Essay

In the first three decades of the sixteenth century the ecclesiastical courts were harshly criticized.1 This criticism had had a long history, but it was sharply focused (at least in London) by the case of Richard Hunne.2 The unpopularity was used by Henry VIII, with great skill, to bring Convocation into subjection, and ultimately to force its acceptance of the royal supremacy. Convocation was intimidated in 1531 by a charge of praemunire for their exercise of ecclesiastical jurisdiction,3 and in 1532 by the Commons Supplication against the Ordinaries.s But why was this Supplication submitted? Apparently it was not a diplomatic move to reinforce Henry’s papal negotiations; nor can it be seen simply as a means devised by Cromwell to deprive the clergy of their legislative rights. As Dr Kelly has shown, most of the Supplication was not about these rights. The fact that they subsequently proved crucial should not lead us into confusing intention and result. The intention of the document is to attack the ecclesiastical courts quite as much as the legislative power of the Church. Clauses 2–7 deal directly with judicial problems. What exactly lies behind this intention? Why were the courts so unpopular and felt to be so threatening?

scholarly journals Penelope’s Web: Francesco Primaticcio’s Epic Revision at Fontainebleau*

2006 ◽  
Vol 59 (3) ◽  
pp. 795-827 ◽  
Author(s):  
Giancarlo Fiorenza
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Central Focus ◽  
Visual Potential

Francesco Primaticcio designed his celebrated Galerie d’Ulysse at Fontainebleau (now destroyed) at a time when the epic genre was being updated and redefined. One of the most popular scenes from the gallery, Ulysses and Penelope recounting their adventures to one another in bed (from book 23 of theOdyssey),was adapted and revised in an independent composition by Primaticcio himself:Ulysses and Penelope(Toledo Museum of Art, ca. 1560). In contrast to the Fontainebleau mural, the artist’s self-conscious, refined pictorial language for his canvas converts epic energy into lyric sentimentality. As a result, Penelope becomes the central focus of the new composition. Through the language of gesture the painting stresses such themes as beauty and desire, and further employs such prized poetic devices as reversal (peripeteia) and recognition (anagnorisis). By responding to the formal prescriptions of both the epic and romance genres, Primaticcio exploits the expressive and visual potential of the Homeric episode in an utterly novel way. The painting opens up questions into ways of reading, viewing, and interpreting mythic subject matter in sixteenth-century France.

Native North American ethnography in European collections

2020 ◽  
Vol 32 (3) ◽  
pp. 467-479
Author(s):  
Christian Feest
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
North American ◽  
Historical Ethnography ◽  
Native North American ◽  
Full Attention ◽  
To Receive

Abstract Objects of Native North American origin have entered European collections since the sixteenth century and to this day remain important documents of historical ethnography. Owing to their dispersal to institutions that often lack the expertise required for their proper assessment, and also to the fragmented nature of the available literature in various languages, they have yet to receive the full attention they deserve. The present overview summarizes the results of research and publications on this subject matter since 1992.

Exposed to All the Currents of the Mediterranean—A Sixteenth-Century Venetian Rabbi on Muslim History

AJS Review ◽  
2005 ◽  
Vol 29 (1) ◽  
pp. 33-60 ◽  
Author(s):  
Martin Jacobs
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Ottoman Empire ◽  
Subject Matter ◽  
Political Discourse ◽  
Ottoman History ◽  
Major Subject ◽  
The Mediterranean

The Western perception of Islam as a belligerent religion owes many of its stereotypes not only to the Crusades, but also to the early modern rivalry between the Ottoman Empire and Christian Europe. Heated debates about the “Turkish menace” dominated European political discourse until the (second) Ottoman siege of Vienna in 1683, as documented by the innumerable Turcica that circulated both swiftly and widely thanks to revolutionary advances in printing. Sixteenth-century Christian authors provided their eager readers with constantly updated versions of Ottoman history, as did some of their Jewish contemporaries. Probably the first Jew to make the Ottomans the major subject matter of his work was Elijah Capsali of Candia in Venetian Crete, who in 1523 completed a Hebrew chronicle titled Seder ءEliyahu Zuta (“Minor Order of Elijah”).

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