Doctor of Philosophy, The Ohio State University, 2022, English

For much of the past seventy years, discussion of authorial intention has often been seen as taboo in historical literary analysis. Monumental scholars such Roland Barthes and Michel Foucault wrote crucial essays that helped steer critical focus away from questions of intention, encouraging interpretation of the text itself as the ideal. While these contributions to the field were both valuable and necessary, paving the way for the reader-response approach that is now predominant in literary analysis, they had the unfortunate consequence of taking the role of intention out of the realm of interpretation entirely. The difficulty this consequence has presented is that to many literary analysts, “intention” is still viewed as a bad word, or at least one tainted by the idea that considering intentions precludes other readerly or critical interpretations. The field of book history has largely steered clear of the negative imputations of intention, as understanding what an author (or other agents involved in publication) intended by choices made in a primary text is essential for how that publication can be parsed from a material standpoint. The divide between book history and literary analysis has gradually been narrowing, but the reluctance to fully embrace intention as one of many tools to explore the interpretational possibilities of historical literary texts is a problem that I seek to address. This dissertation focuses on four editions of poetry from the mid-seventeenth century to demonstrate how the intentions of authors and other agents in the production of literary works have a direct impact on how those works can be interpreted. My methodology is rooted in book history, but my key objective throughout is to apply that approach to literary analysis by using what we can both definitively know and reasonably establish about intentions to guide close-readings of the works themselves. Doing so reveals that, far from precluding interpretation, considering the orig (open full item for complete abstract)

Committee: Hannibal Hamlin (Committee Chair); Erin McCarthy (Committee Member); Luke Wilson (Committee Member); Karen Winstead (Committee Member) Subjects: British and Irish Literature; Literature

Doctor of Philosophy, Case Western Reserve University, 2022, Art History

In the early modern period, elite collectors began amassing magnificent collections of both locally produced and imported objects. Few were as innovative as Amalia van Solms-Braunfels (1602-1675), Princess of Orange. Under Amalia and her husband, Stadtholder Frederik Hendrik (1584-1647), Prince of Orange, the United Provinces flourished as a cultural and global power. The strength and wealth of the country, and by association the House of Orange-Nassau, is embedded in Amalia's cabinets or closets, private spaces where she carefully curated assemblages of locally produced and imported decorative and fine artworks. Under the weight of a historiographic tradition that privileges male rulers, much of the scholarship produced on the princely couple's cultural activities marks Frederik Hendrik or Constantijn Huygens as the deciding factor without discussion or justification. While scholarly interest in Amalia's role as an independent patron and collector has grown over the last two decades, the focus to date on individual, extant objects, while informative, does not provide a comprehensive understanding of Amalia's interests and motivations as a patron and collector-- how she acquired and employed objects, both individually and in decorative ensembles, to construct her various identities. My dissertation focuses on Amalia's cabinets found in the Stadtholder's Quarters (Stadhouderlijk Kwartier) and the Oude Hof (‘Old Court') at Noordeinde, and the objects displayed within. Uniting textual and visual evidence in the form of inventories, correspondence, and objects with novel digital tools, it first applies social network analysis to visualize Amalia's social, global network that provided her with access to other impressive collections and artists, as well as assisted her with acquiring objects originating from outside of Europe. It interrogates how, once acquired, objects were employed by Amalia in ensembles within the most intimate spaces of her residences to construct her (open full item for complete abstract)

Committee: Catherine Scallen (Advisor); Andrea Wolk Rager (Committee Member) Subjects: Art History

MA, Kent State University, 2014, College of Arts and Sciences / Department of Modern and Classical Language Studies

The Bacchic cult became the target of mass persecution in 186 BCE. According to Livy, the cult permeated all societal boundaries, resulting in the Roman government condemning over seven thousand people. Of the seven thousand, more Bacchants suffered capital punishment than were thrown in jail. This thesis shows how this extreme and violent reaction can be sociologically categorized as a moral panic by using sociologist David Garland’s seven criteria of a moral panic. Highly influenced by Stanley Cohen, the creator of the term moral panic, the criteria of Garland are examined in detail to prove that the persecution of 186 was, indeed, a moral panic. In order to strengthen the argument and connection to moral panic studies, the Bacchic cult persecution is compared side-by-side with the witch hunts in Europe during the 14th-17th centuries. The criteria necessary for categorization as a moral panic are present in both violent reactions, even though they are centuries apart. That is, both persecutions involve concern, hostility, consensus, disproportionality, volatility, and a moral dimension that is symptomatic of a larger problem. For a moral panic to be set into motion, the conditions need to allow for the panic to engulf the general public, and 186 provided such an opportunity. The violent reaction toward Bacchants happened due to a hidden political agenda which included many factors: concern regarding foreign influences in Italy, shift of public support to newly victorious generals, changes in aristocracies throughout Italy due to Hannibal’s destruction a few years prior, evolution of the role of women, fracturing within the Senate, and a desire to expand political power to other areas within Italy. False accusations that preyed upon deep-seated fears of the foreign cult were hurled against the Bacchants, a group which provided the perfect scapegoat. By creating a moral panic, the Roman government was able to work the public into a frenzy so that i (open full item for complete abstract)

Committee: Jennifer Larson (Advisor); Radd Ehrman (Committee Member); Brian Harvey (Committee Member) Subjects: Ancient Civilizations; Ancient History; Ancient Languages; Archaeology; Classical Studies; European History; European Studies; Gender; Gender Studies; History; Language; Law; Legal Studies; Political Science; Sociology; Theater; Theater History; World History

Bachelor of Arts, Walsh University, 2009, Honors

John Locke, it hardly needs to be said, holds an enormously influential position in the progression of the European Enlightenment. A largely mainstream philosopher, Locke was in a position to encourage an understanding of both human nature and the purpose and role of religion that previously had only been discussed on the peripheries of the intellectual landscape. That he did in fact do this is evidenced by the reception of his philosophy by his contemporaries as well as the impact it has had on the modern understanding of these issues, all of which have been discussed ably elsewhere. Discussed less frequently, however, is the topic which is of primary concern for this paper—namely, the circumstances which placed Locke in this influential position between the mainstream and the unconventional. Obviously, there is no way to ever completely account for the development and eventual manifestation of these beliefs within Locke's philosophy. However, the five-year period (1684-1689) which Locke spent exiled from England, which he spent in the Dutch Republic, mostly living in Amsterdam, is undoubtedly highly significant for numerous reasons. There is a strong case to be made that an examination of this aspect of Locke's life will therefore shed new light on the often cloudy issue of the theology of Locke's philosophy. Not only was the intellectual climate of the Netherlands far more radical than much of the rest of seventeenth-century Europe, but the primary topics of debate in this climate were theological in nature. Since this was the case, it provided the perfect opportunity for Locke to be both exposed to and absorb progressive or unorthodox ideas, perhaps without even fully realizing that he was doing so. Furthermore, Locke's extensive correspondence with his Dutch associates demonstrates that this is exactly what was occurring. The enthusiasm with which Locke engaged in this culture of avant-garde intellectualism is well documented in his correspondence from this fiv (open full item for complete abstract)

Committee: Douglas Palmer PhD (Advisor); Matthew Powell PhD (Other); Koop Berry PhD (Committee Chair) Subjects: History; Philosophy; Religion; Religious History

MA, University of Cincinnati, 2009, Arts and Sciences : Germanic Languages and Literature

Early Modern Germany has been noted as the most apocalyptic time period in Western Tradition. Although a prominent historical and literary figure of this time period, Lutheran hymnist, Paul Gerhardt (1607-76), has not been explored by scholars with eschatology in mind. This thesis uses apocalyptic literary tradition as a lens to interpret six of his hymns. Before offering discussing the content of these hymns, however, I establish Paul Gerhardt within the context of Early Modern apocalypticism as well as within his literary genre, the German Kirchenlied tradition. The various interpretations that follow revolve around three questions concerning Gerhardt and apocalyptic tradition. First, what did Gerhardt say about the apocalypse? Second, how or to what ends did he engage the topic? Third, why did he portray apocalypticism the way he did? Gerhardt expresses apocalyptic expectation in his work, but his apocalypticism is as concerned with the temporal present as it is with the eternal future. In his hymns, Gerhardt creates a mediating landscape between the Jammertal and Freudensaal; his hymns do not define earthly life as a Jammertal void of joy or peace nor is heaven defined as a divine Freudensaal divorced of earthly reality. Rather, a degree of earthly peace and joy is possible alongside great sorrow, and that one's conception of heaven is marked by earthly symbols of true Home, Sustenance and Peace. In a world approaching its end, Gerhardt portrays the apocalypse as a means to navigate himself and his fellow man on the journey between the Jammertal and the Freudensaal.

Committee: Richard Schade PhD (Committee Chair); Sigrun Haude PhD (Advisor) Subjects: German literature; History

Doctor of Philosophy, The Ohio State University, 2010, History

This dissertation examines the changing dynamics of power and patronage relations at the Ottoman sultan's court in Istanbul between the 1570s and the 1610s. This was a crucial period that many scholars today consider the beginning of a long era of “crisis and transformation” in the dynastic, political, socio-economic, military and administrative structures of the early modern Ottoman Empire. The present study focuses on the politics of factionalism and favoritism at the higher echelons of the Ottoman ruling elite who were situated in and around Topkapi Palace, which served as both the sultan's royal residence and the seat of his imperial government. It is an effort to shed light on the political problems of this period through the prism of the paramount ruling figure, the sultan, by illustrating how the Ottoman rulers of this era, namely, Murad III (r. 1574-95), Mehmed III (r. 1595-1603) and Ahmed I (r. 1603-17), repositioned themselves in practical politics vis-a-vis alternative foci of power and networks of patronage, and how they projected power in the context of a factional politics that was intertwined with the exigencies of prolonged wars and incessant military rebellions. My main contention is that, under new political circumstances, these three sultans employed new ruling strategies in order to impose their sovereign authority on the business of rule, an end which they achieved, with varying degrees of success, mainly through the mediation of their royal favorites and the court factions led by them.

Committee: Jane Hathaway (Committee Chair); Howard Crane (Committee Member); Stephen F. Dale (Committee Member) Subjects: History

Master of Arts, Miami University, 2009, French, Italian, and Classical Studies

This thesis investigates how the analogous nature of ancien regime society and adolescent psychology can engage high school students in active learning about ancien regime society. The similarities between cultural changes in the 17th century and social changes in adolescence will be used to help students reach historical empathy. This analysis is based on the interpretation that the 17th century was the beginning of modernity in the philosophical sense. The effects of modern subjectivity on the self and social interactions will be analyzed in literature and compared to adolescent psychology for writing effective, engaging, and relevant lesson plans.

Committee: Claire Goldstein PhD (Advisor); Elisabeth Hodges PhD (Committee Member); Mark McKinney PhD (Committee Member) Subjects: Bilingual Education; Comparative Literature; Education; Educational Psychology; Educational Theory; History; Language; Literature; Personal Relationships; Philosophy; Psychology; Teaching

Doctor of Philosophy, Case Western Reserve University, 2010, Musicology

Roman vocal chamber music of the middle decades of the seventeenth century constitutes one of the largest repertoires of the Baroque period, one which is also among the least studied. Just as the polyphonic madrigal served during the sixteenth century as the ideal medium for developing new ideas with far-reaching consequences, mid-seventeenth century Roman vocal chamber music was a proving ground for developments of lasting importance in melodic style, formal structure, and the establishment of functional tonality. Scholarly interest in this repertoire has begun to gather momentum during recent decades, but there has been relatively little study of the elements of musical language which characterize the repertoire as a whole, and as they differentiate the individual styles of each composer. This study develops a model for analyzing mid-seventeenth century vocal chamber music that takes into account features of melodic style, text-music relationship, and tonal language. Part I presents an overview of the historical context, production, reception, sources, and musical language of vocal chamber music in mid-seventeenth century Rome. This provides a frame of reference for detailed analyses of nine representative works by Antonio Francesco Tenaglia (c. 1615-1672/3) in Part II. While the works of any of the principal Roman composers of the period might have served the primary goal of developing an approach to studying the repertoire, focus on a single composer provides the scope for delineating features of individual style with greatest clarity. Tenaglia is an ideal choice because many features of his melodic and rhythmic style are particularly distinctive, and because his surviving output maintains a consistently high standard of musical inspiration and craftsmanship. Features of Tenaglia's style are compared with those of other composers, especially Giacomo Carissimi. From these comparisons emerges a secondary theme of opening the way to an appreciatiation of a little (open full item for complete abstract)

Committee: Dr. Peter Bennett (Advisor); Dr. Ross Duffin (Committee Member); Dr. David Rothenberg (Committee Member); Dr. Richard Nelson (Committee Member) Subjects: Music

PhD, University of Cincinnati, 2012, Arts and Sciences: Romance Languages and Literatures

This dissertation brings a new approach to Valle y Caviedes studies by using the theory of professional fields proposed by the French sociologist Pierre Bourdieu, in conjunction with Norbert Elias' work on court societies. Caviedes is considered the most significant satiric writer in the viceroyalty of Peru. His literary career is a crucial contribution to the Peruvian literary field of the 17th century and poses a particular interest regarding the relationship between the literary field and the field of power. My research focuses on Caviedes' position in the colonial literary field as well as on his interaction with the colonial field of power in the viceroyalty of Peru in the 1600s. The origins of the colonial literary field coincided with a moment of cultural splendor in the metropolis and received the influence of the Spanish Golden Age transforming it into a literature that manifests its own concerns and interests. The viceroys, who sponsored poetic communities and academies, brought Spanish court cultural to America. Accordingly, my work studies the relations between the writer and the court, as well as the cultural interaction between the viceroyalty and the metropolis. It is essential for this work to know how the literature of the writer emerged and to have an idea of his habitus by reconstructing his network of relations. The colonial literary field appeared in the context of a court society very similar to its Spanish metropolitan counterpart that established in the Peruvian viceroyalty a political, social and cultural system where the agents of this field tried to position themselves. Caviedes started being known in the colonial literary field and in Lima' society through his main symbolic cultural capital: his satiric poetry. In this literary practice, he satirized the authorities of the Peruvian viceroyalty. The satirical poetry in Caviedes' poems was part of the literary strategy that was motivated by the competitiveness and the search for distinc (open full item for complete abstract)

Committee: Carlos Gutierrez Ph.D. (Committee Chair); Armando Romero Ph.D. (Committee Member); Nicasio Urbina Ph.D. (Committee Member) Subjects: Latin American Literature