El Cura De Madrilejos Im Kontext Des Dämonologischen Schrifttums

2019 ◽  
Vol 131 (4) ◽  
pp. 487-502
Author(s):  
Anna Isabell Wörsdörfer
Keyword(s):  
Early Modern ◽  
Golden Age ◽  
Historical Context ◽  
Early Modern Period ◽  
Spanish Golden Age ◽  
Modern Period ◽  
Evil Spirits

In the early modern period, demons and evil spirits don't only occupy the minds of clergymen like Castañega, Ciruelo and Delrío as can be seen in their scientific documents, but they also crowd the stages of Spanish Golden Age theatre. On the basis of the comedia El cura de Madrilejos, this article examines the overlaps of demonological discourses coming from theology, literature, medicine, law and stage technology. The analysis is focused on the phenomena of sorcery, possession and exorcism which will be situated in their multidiscursive historical context.

Golden Ages and Golden Hinds; or, Periodizing Spain and England

PMLA ◽  
2012 ◽  
Vol 127 (2) ◽  
pp. 321-327 ◽  
Author(s):  
Barbara Fuchs
Keyword(s):  
Early Modern ◽  
Golden Age ◽  
Early Modern Period ◽  
Spanish Golden Age ◽  
Modern Period ◽  
National Tradition ◽  
Relative Value

The unevenness of periodization across different national traditions provides the perfect opportunity for a comparative and transnational inquiry. While the initial temptation is to deem literatures demarcated by national tradition incommensurate or simply to juxtapose them as disparate objects, the more compelling project, particularly for the early modern period, is to show how literary periodization itself becomes part of the project of national distinction. In this essay, which I want to place in dialogue with Margaret Greer's and Alison Weber's contributions to PMLA's January 2011 “Theories and Methodologies” forum on the Spanish Golden Age, I argue that periodization must be considered in a transnational framework, for our conception of significant literary epochs is closely tied to the relative value that literatures are assigned, especially when national traditions are coalescing.

Benet Perera’s Pious Humanism: Aristotelianism, Philology, and Education in Jesuit Colleges. An Edition of Perera’s Documenta quaedam perutilia

2017 ◽  
Author(s):  
Cristiano Casalini ◽  
Christoph Sander
Keyword(s):  
Early Modern ◽  
Historical Context ◽  
Early Modern Period ◽  
Multiple Forms ◽  
Christian Philosophy ◽  
Modern Period

This chapter discusses the philosophical pedagogy of Benet Perera (1535–1610) through an analysis and transcription of his treatise on the useful, error-free study of Christian philosophy, the Documenta quaedam perutilia iis qui in studiis philosophiae cum fructu et sine ullo errore versari student. It places Perera’s treatise within its historical context—that of the Jesuit Roman college of the 1560s—in order to elucidate how his promotion of his own idea of a Christian philosophy for schools provoked criticism among his fellow Romans Diego de Ledesma and Achille Gagliardi. It shows the position of Perera’s project within the multiple forms of Aristotelianism in the early modern period and how Perera was able to justify his own position as ‘sufficiently pious’ through his emphasis on philology as an approach to philosophy. Perera came up with a strictly Christian philosophy curriculum by integrating different trends of Aristotle’s philosophy into his own, even including approaches that were considered impious by some of his fellow Jesuits.

CIRCULATING MUSICAL KNOWLEDGE IN EARLY SEVENTEENTH-CENTURY GERMANY: MUSICA POETICA TREATISES OF JOHANN HERMANN SCHEIN AND MICHAEL ALTENBURG IN THE LIBRARY OF JOHANN CASPAR TROST

2016 ◽  
Vol 35 ◽  
pp. 131-201
Author(s):  
Inga Mai Groote ◽  
Dietrich Hakelberg
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Book History ◽  
Historical Context ◽  
Early Modern Period ◽  
Learning And Teaching ◽  
Musical Education ◽  
Modern Period ◽  
Musical Knowledge ◽  
Musica Poetica

Recent research on the library of Johann Caspar Trost the Elder, organist in Halberstadt, has led to the identification of a manuscript with two unknown treatises on musica poetica, one a lost treatise by Johann Hermann Schein and the other an unknown treatise by Michael Altenburg. Together they offer fresh insights into the learning and teaching of music in the early modern period. The books once owned by Trost also have close connections to his personal and professional life. This article situates the newly discovered manuscript in the framework of book history and Trost’s biography, and discusses the two treatises against the background of contemporary books of musical instruction (Calvisius, Lippius, or Finolt). The historical context of the manuscript, its theoretical sources and its origins all serve to contribute to and further the current understanding of musical education in early modern central Germany. An edition of the treatises is provided.

THE TEMPEST AND THE BRITISH IMPERIUM IN 1611

1998 ◽  
Vol 41 (2) ◽  
pp. 375-400 ◽  
Author(s):  
TRISTAN MARSHALL
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Early Modern ◽  
Literary Criticism ◽  
Historical Context ◽  
Early Modern Period ◽  
Historical Reconstruction ◽  
The Tempest ◽  
Modern Period ◽  
Proper Context

Recent moves by New Historicists to evaluate theatrical material from the early modern period have been at the expense of what historians would recognize as acceptable use of historical context. One of the most glaring examples of the dangers of taking a play out of such a proper context has been The Tempest. The play has had a great deal of literary criticism devoted to it, attempting to fit it into comfortable twentieth-century clothing in regard to its commentary on empire, at the expense of what the play's depiction of imperialism meant for the year 1611 when it was written. The purpose of this paper will therefore be to suggest that the play does not actually call into question the Jacobean process of colonization across the Atlantic at all, and suggests that of more importance for its audience would have been the depiction of the hegemony of the island nation of Great Britain as recreated in 1603. Such a historical reconstruction is helped through contrasting Shakespeare's play with the Jonson, Chapman, and Marston collaboration, Eastward Ho, as well as with the anonymous Masque of Flowers and Chapman's Memorable Masque. These works will be used to illustrate just what colonialism might mean for the Jacobean audience when the Virginia project was invoked and suggest that an American tale The Tempest is not.

Introduction

2019 ◽  
pp. 1-12
Author(s):  
Judith Fletcher
Keyword(s):  
Early Modern ◽  
Recent Literature ◽  
Near East ◽  
Historical Context ◽  
Early Modern Period ◽  
Ancient Near East ◽  
Modern Period

The Introduction situates the myth of the descent to the underworld (catabasis) in a broad historical context beginning with Ancient Near East traditions, including the Sumerian poem preserved in cuneiform, “The Descent of Inanna,” and extending to medieval treatments such as “The Visions of the Knight Tondal”, and those of the early modern period. It includes a survey of other scholarly treatments of the underworld theme in recent literature. A brief overview of the volume explains how it fills a gap in the scholarship by focusing on the adaptation of the theme of a visit to Hades in postmodern, feminist, and postcolonial fiction.

scholarly journals Agro jauno laiku Rīgas kapsētu apbedījumu izpēte ar senās DNS analīzēm: nozīmīgākās pieejas un izpētes perspektīvas

2021 ◽  
Author(s):  
Alise Pokšāne ◽  
Keyword(s):  
Early Modern ◽  
Ancient Dna ◽  
Dna Analysis ◽  
Historical Context ◽  
Ethnically Diverse ◽  
Early Modern Period ◽  
Maternal Origin ◽  
Archaeological Methods ◽  
Modern Period ◽  
Ancient Dna Analysis

The aim of the research is to find out how ancient DNA analysis could supplement the existing knowledge acquired with research methods like analysis of literature and sources, as well as archaeological methods, using specific early modern period burials in Riga as an example. Within the framework of the study, the ancient DNA extraction and analysis was performed. The results are connected with the archaeological and historical context of the burial, thus enabling advancement of hypotheses about the origin of specific individuals based on the population genetics theory. As a result of the study, the approximate maternal origin of three and the sex of all six of the studied individuals was determined. It was found that the buried individuals had different regions of origin, thereby confirming that the inhabitants of Riga in the early modern period were ethnically diverse.

Cruisy Historicism

2021 ◽  
pp. 150-185
Author(s):  
James M. Bromley
Keyword(s):  
Early Modern ◽  
Historical Context ◽  
Early Modern Period ◽  
Sexual Practices ◽  
Sexual Practice ◽  
The Past ◽  
Male Characters ◽  
Modern Period ◽  
Historical Methodology ◽  
The Erotic

This chapter articulates a historical methodology, cruisy historicism, for attending to the erotic possibilities of the resistances from minor voices within a text and the mismatch between text and historical context. Drawn analogically from queer public sexual practices, cruisy historicism is particularly suited to unpacking the queer sexual possibilities that inhere in these multiplicities and misalignments. This methodology is explored via the intersection of clothing and space in Ben Jonson’s Every Man Out of His Humour. The play depicts lavishly dressed male characters circulating knowledge about queer forms of eroticism and subjectivity in the middle aisle of St Paul’s Cathedral, a place famed for its parading gallants in the early modern period. This chapter uses cruisy historicism to access the utopian fantasies surrounding extravagant apparel that exceed their historical and satiric contexts. In addition, cruisy historicism invites readers to encounter texts that do not seem especially welcoming to queerness so as to rework them into sites in which queer pleasure can animate one’s relationship with the past and compel us to rethink present-day political demarcations of legitimate forms of sexual practice.

REPRESENTATIONS OF POVERTY IN THE COMMEDIA DELL' ARTE

2007 ◽  
Vol 48 (2) ◽  
pp. 229-246 ◽  
Author(s):  
Robert Henke
Keyword(s):  
Early Modern ◽  
Golden Age ◽  
Social Issues ◽  
Early Modern Period ◽  
Commedia Dell'arte ◽  
Modern Period ◽  
Performance Tradition ◽  
And Performance ◽  
Mendicant Orders

This essay explores the socioeconomic resonance of Italian professional theatre in the early modern period by considering a few records of performance by indigent entertainers, and by exploring the persistent theatrical and textual presence of poverty and hunger in texts both central and adjacent to the professional actors. Whether or not a given troupe or actor directly experienced or even cared about poverty, famine, destitution, or other social issues, by the time of the commedia's “golden age” these themes had by dint of theatrical tradition and performance sedimentation become part of the actors' repertoire, much more central to their performance tradition than they were in English and Spanish early modern theatres. Partly because of the medieval legacy of the itinerant mendicant orders in Italy, the commedia dell'arte inherited a culture in which poverty, begging, itinerancy, and a certain disposition to perform degradation were in the air, and this was absorbed into the grammar of their performance. Not only were tropes and gags of hunger and destitution continually deployed in the commedia, but some of the actors assumed, for their own rhetorical purposes, the histrionic pose of destitution. In other words, whatever their professional fortunes, they “played” poverty both onstage and in their offstage personae.

The Ballads

2017 ◽  
Author(s):  
Mary-Ann Constantine ◽  
Éva Guillorel
Keyword(s):  
Early Modern ◽  
Historical Context ◽  
Literary Tradition ◽  
Early Modern Period ◽  
Modern Period ◽  
Wide Range ◽  
English Translations ◽  
Selection Of

This section comprises a selection of thirty-five Breton ballads, presented in the original Breton with English translations. Each ballad text is followed by a short analysis giving, where possible, information on its provenance and exploring the literary and historical context of the events it describes. Reference is also made to other versions and occasionally to international parallels. The material covers a wide range of topics, from shipwrecks and murders to penitential journeys, the plague, scenes from war and encounters in love. It draws on themes from the European medieval literary tradition, the literature of other Celtic-speaking countries, and events from Breton history, particularly from the turbulent early modern period.

scholarly journals Name & sign: About Zaharija Orfelin’s pseudonym

2016 ◽  
pp. 75-87
Author(s):  
Vladimir Simic
Keyword(s):  
Early Modern ◽  
Intellectual History ◽  
Historical Context ◽  
Early Modern Period ◽  
General Characteristic ◽  
Name Change ◽  
Modern Period ◽  
Historical Figure ◽  
History Of ◽  
The Individual

The problem of representation of intellectuals and artists in the early modern period has long occupied historians and researchers of various disciplines. One of the forms of artistic expression of intellectual self-consciousness was creation of pseudonyms. That was the metaphorical way of deliberation of individual identity, but also a signifier of cultural processes that took place between self, creativity and historical context. Onomastic studies had a long tradition and pre-modern intellectuals very early accepted idea that name reveals the essence of things and indicates the character of its wearer. The name was considered as a strong denotative force, which could affect private or public life of an individual. That was further confirmed in the manual of Adrien Baillet Auteurs Deguisez Sous Des Etrangers Noms published in 1690, for all those who wanted to create an alias. Zaharija Orfelin (1726-1785), as one of the early Serbian intellectuals and artists of the Enlightenment, also rejected his last name which remained unknown to date. Only one uncertain explanation was provided and that by Metropolitan Stefan Stratimirovic which stated that Zaharija?s last name was ?Stefanovic?, and that he himself invented the pseudonym ?Orfelin?. In the lack of other sources that thesis was accepted, but never did explain the motives behind the act. That aspect of his artistic personality remained unsolved, so this paper analyze the individual circumstances of his life in the context of onomastic and intellectual history of the early modern period. The invention of pseudonyms was recognized as a general characteristic of the era, so the comparisons and analogies of some biographical details are made between him and few other intellectuals and artists. Signatures that Orfelin put on his pieces are interpreted in the context of his public representation. From today?s perspective, it seems that Orfelins? historical figure stayed hidden behind the personality which was introduced by his chosen name. In that context, the name change referred to deeper internal changes in matters of his identity and public role.

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