scholarly journals ‘Who Is’t can Read a Woman?’: Representation of Queen Elizabeth I in Cymbeline

MANUSYA ◽  
2005 ◽  
Vol 8 (4) ◽  
pp. 1-23
Author(s):  
Thanomnual Hiranyatheb
Keyword(s):  
The Political ◽  
Elizabeth I ◽  
Political Climate ◽  
Work Of Art ◽  
James I ◽  
Queen Elizabeth I ◽  
Cultural Forces ◽  
King James I ◽  
Cultural Responses ◽  
A Site

This article is an attempt to read Cymbeline (1608-1610), one of Shakespeare’s so-called ‘final plays’ or ‘romances’ as a site of cultural responses to the remaining ‘presence’ of the late Queen Elizabeth I and her cultural associations in the context of the reign of her gender-different successor, King James I. It argues that these responses can be seen in the play’s portrayal of two characters in the play, namely the Wicked Queen and to a lesser extent, Imogen, in which the figure of the late queen is played out and marginalized, and proposes that these representations are ways in which the Jacobean culture deals with and exorcises its anxieties about the late monarch’s sometimes contradictory (self-appointed) role as a militant, powerful and inscrutable ‘woman-on-top’, which disrupted ‘natural’ gender distinction in the political climate of James I’s reign, during which pacifism, transparency and patriarchalism were highly advocated, especially by the king himself and other writers. It is hoped that this article can offer a reading of the play, not by interpreting it as a complete-in-itself and truth-reflecting work of art by a literary genius according to the romantic-humanistic conception of the ‘author’ and ‘literature,’ but rather by taking into accounts political, social and cultural forces that were circulated during the time of composition and reception of the play and with which it interacted.

scholarly journals VIRTUAL TOUR ENVIRONMENT OF CUBA’S NATIONAL SCHOOL OF ART

2017 ◽  
Vol XLII-2/W5 ◽  
pp. 547-551 ◽  
Author(s):  
R. K. Napolitano ◽  
I. P. Douglas ◽  
M. E. Garlock ◽  
B. Glisic
Keyword(s):  
The Political ◽  
Political Climate ◽  
Virtual Tour ◽  
Heritage Sites ◽  
National School ◽  
Imaging Camera ◽  
Pertinent Information ◽  
Information Image ◽  
A Site ◽  
Art Schools

Innovative technologies have enabled new opportunities for collecting, analyzing, and sharing information about cultural heritage sites. Through a combination of two of these technologies, spherical imaging and virtual tour environment, we preliminarily documented one of Cuba’s National Schools of Art, the National Ballet School.The Ballet School is one of the five National Art Schools built in Havana, Cuba after the revolution. Due to changes in the political climate, construction was halted on the schools before completion. The Ballet School in particular was partially completed but never used for the intended purpose. Over the years, the surrounding vegetation and environment have started to overtake the buildings; damages such as missing bricks, corroded rebar, and broken tie bars can be seen. We created a virtual tour through the Ballet School which highlights key satellite classrooms and the main domed performance spaces. Scenes of the virtual tour were captured utilizing the Ricoh Theta S spherical imaging camera and processed with Kolor Panotour virtual environment software. Different forms of data can be included in this environment in order to provide a user with pertinent information. Image galleries, hyperlinks to websites, videos, PDFs, and links to databases can be embedded within the scene and interacted with by a user. By including this information within the virtual tour, a user can better understand how the site was constructed as well as the existing types of damage. The results of this work are recommendations for how a site can be preliminarily documented and information can be initially organized and shared.

scholarly journals Iconicizing Kingship in Elizabethan England: Strategic Acting by Queen Elizabeth I

2012 ◽  
Vol 47 (2-3) ◽  
pp. 147-160
Author(s):  
Urszula Kizelbach
Keyword(s):  
Cultural Context ◽  
Role Play ◽  
Sir Philip Sidney ◽  
Virgin Mary ◽  
Elizabeth I ◽  
Public Performance ◽  
James I ◽  
Political Role ◽  
Renaissance England ◽  
Queen Elizabeth I

Abstract Renaissance England is often discussed in the context of theatre and theatrical acting. The fact is that Renaissance monarchs, too, viewed kingship in terms of theatrical display and public performance. Such is the nature of royalty presented by King James I in Basilicon Doron. Queen Elizabeth I was playing all her life. Faced with the problem of her femininity in the world of men, as well as her ambivalent hereditary rights as a member of the Tudor dynasty, she focused on legitimizing her reign through playing different roles - she played the fearful king, the loving queen, she even played Virgin Mary. But Elizabeth emerges as the most stunning actress when she plays herself. On her summer visit to Wanstead in 1578 she took an active part in the pageant “The lady of May”, playing herself, “Good Queen Bess”, which Sir Philip Sidney depicted in his pastoral romance The lady of May. In this way, Elizabeth became her own icon. This paper provides instances of the Queen’s political role play in a historical and socio-cultural context of the time.

Music and Late Elizabethan Politics: The Identities of Oriana and Diana

2005 ◽  
Vol 58 (3) ◽  
pp. 507-558 ◽  
Author(s):  
JEREMY L. SMITH
Keyword(s):  
Sir Philip Sidney ◽  
Political Context ◽  
The Political ◽  
Elizabeth I ◽  
Original Intent ◽  
Queen Elizabeth I ◽  
Current Assessment ◽  
William Byrd

Abstract This essay challenges the current assessment that Thomas Morley's collection, The Triumphes of Oriana, was an uncomplicated musical tribute to Queen Elizabeth I, who was represented allegorically by Oriana, heroine of the romance Amadis de Gaule. It takes into account both the political context surrounding the Essex Revolt, the Elizabethan succession question, and the Catholic issue and the ideas reflected in the poetry that was set to music, as well as some of the music itself. It can be shown that both Morley and his mentor William Byrd were strongly linked to the Sidney/Essex complex of ideals that had a special appeal to Catholics who hoped for a more tolerant regime and who looked to Essex and a Jamesian succession as possible vehicles of salvation. Demonstrating the unsuitability of the Oriana characterization for Elizabeth, I propose a different allegorical identity not only for “Oriana” (James's wife Anna) but also for the character “Diana” (Essex's sister Penelope Rich), who appears in key works by Byrd and in all the Oriana madrigals as well. Certain songs by Byrd promoted the ideas of Sidney and his circle as well as Essex's image as the “heir to Sir Philip Sidney.” Morley's project for the Triumphes began originally, evidence shows, as a musical offering pleasing to the Essex camp and supportive of James's succession. A marked shift in political circumstances between 1600 and 1601 made it incumbent upon Morley and his collaborators to pay tribute to Elizabeth instead, but not all traces of the original intent were effaced. The ambivalence in the meaning of the Oriana and Diana allegories continued into the post-Elizabethan era.

scholarly journals Fashioning the Queen - Elizabeth I as Patron of Translations

2012 ◽  
Vol 11 (1) ◽  
pp. 135-145
Author(s):  
Oana-Alis Zaharia
Keyword(s):  
The Political ◽  
Elizabeth I ◽  
Queen Elizabeth I ◽  
Cultural Implications

Abstract The present paper aims to explore the role of Queen Elizabeth I as literary patron and dedicatee of translations by focusing on the dedication that precedes Geoffrey Fenton’s rendering of Francesco Guicciardini’s Storia d’Italia. Fenton’s extensive dedication to the Queen is extremely revealing of the manner in which the system of patronage was understood in Elizabethan England. Moreover, it facilitates our understanding of the translator’s role and position at the Elizabethan court, of the political and cultural implications of choosing the Queen as the patron of a translation.

William III and the Negative Voice

1987 ◽  
Vol 19 (4) ◽  
pp. 509-525
Author(s):  
James Jay Carafano
Keyword(s):  
Seventeenth Century ◽  
The Political ◽  
Elizabeth I ◽  
Constitutional Change ◽  
Royal Power ◽  
Queen Elizabeth I ◽  
Full Analysis ◽  
William Iii ◽  
Right To Refuse ◽  
The Revolution

A fresh interpretation of King William III's employment of the royal veto provides new insights into the political and constitutional issues of his reign. The veto, or the crown's negative voice as it was called by contemporaries, is a particularly fruitful subject for study in charting the course of politics in seventeenth century England. The employment of the veto offers an accurate barometer for measuring political and constitutional change. It addresses the key issue of sovereignty—who makes law? King or Parliament? It is surprising, therefore, that historians have neglected to examine the implications of William's employment of the veto. As a result, their conclusions about the veto are not supported by a full analysis of the available evidence. What they have overlooked is that a close examination of the bills the king rejected, and of contemporary views of the royal prerogative, demonstrates that underneath the turmoil of Williamite politics lay a stable foundation built on the settlement achieved at the Revolution of 1688/9.During his brief rule William III rejected a significant number of bills. Between 1692 and 1696 he vetoed five public bills: the Judges, Royal Mines, Triennial, Place, and MP Qualifications Bills. Previous Tudor and Stuart monarchs, with the exception of Queen Elizabeth I, only infrequently invoked the crown's right to refuse legislation. Queen Anne, who followed William to the throne, vetoed only one bill. She was the last monarch to employ this prerogative, although it remains theoretically a legitimate royal power.

On the Proper Interpretation of Hobbes’s Philosophy

2021 ◽  
pp. 63-76
Author(s):  
A.P. Martinich
Keyword(s):  
Seventeenth Century ◽  
The Political ◽  
James I ◽  
Cast Doubt ◽  
Intellectual Context ◽  
King James I ◽  
Proper Interpretation ◽  
The Trinity

This chapter responds to Edwin Curley’s criticisms of the author’s interpretation of Thomas Hobbes’s philosophy. The author discusses the importance of the intellectual context for understanding an author’s thought. Hobbes’s context is the political and religious doctrines of King James I. The key issue raised by Curley in his article concerns the conditions under which it is appropriate to interpret a text ironically. For example, he thinks that Hobbes’s defective theory of the Trinity is evidence of atheism. But in the seventeenth century, a botched theory of the Trinity cast doubt on the theory, not the doctrine, which Christians held tenaciously. Also, many of Hobbes’s biblical interpretations that seemed false to his contemporaries are not presented ironically. They were novel theories that biblical scholars today largely accept. Some other views that may seem today to be irreligious, such as that miracles no longer occur, were standard views in the seventeenth century.

Church and State, 1558–1612: The Task of the Cecils

1965 ◽  
Vol 2 ◽  
pp. 119-140
Author(s):  
Joel Hurstfield
Keyword(s):  
Church And State ◽  
Elizabeth I ◽  
James I ◽  
Secretary Of State ◽  
Queen Elizabeth I ◽  
Roman Catholics

A week before Christmas 1604, Robert Cecil, secretary of state to James I, and recently elevated in the peerage to a viscountcy, received from Matthew Hutton, Archbishop of York, a frank piece of advice. ‘Good my Lord Cranborne,’ wrote the archbishop, ‘let me put you in mynde that you wer borne and brought up in true religion. Your worthy father was a worthy instrument to banish superstition and to advaunce the Gospell. Imytate him in this service efectyally.’ There followed some unkind observations about James I’s love for the blood sports, and a further warning about the Roman Catholics, and then a concluding prayer: ‘Thus beseching God to bless your Lordship with his manyfold graces that you may as long serve his most excellent Majestie as your most wyse father did serve most worthy Queen Elizabeth, I bid you most hartely farewell.’

Introduction

2018 ◽  
Author(s):  
Rosamund Oates
Keyword(s):  
Civil Wars ◽  
Pivotal Role ◽  
Elizabeth I ◽  
Henry Viii ◽  
James I ◽  
Protestant Church ◽  
Charles I ◽  
Turbulent Times ◽  
Stuart England ◽  
The Church

Tobie Matthew (c.1544–1628) lived through the most turbulent times of the English Church. Born during the reign of Henry VIII, he saw Edward VI introduce Protestantism, and then watched as Mary I violently reversed her brother’s changes. When Elizabeth I came to the throne in 1558, Matthew rejected his family’s Catholicism to join the fledgling Protestant regime. Over the next sixty years, he helped build a Protestant Church in England under Elizabeth I, James I, and Charles I. Rising through the ranks of the Church, he was Archbishop of York in the charged decades leading up to the British Civil Wars. Here was a man who played a pivotal role in the religious politics of Tudor and Stuart England, and nurtured a powerful strain of Puritanism at the heart of the established Church....

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