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With a focus on England from the accession of Elizabeth I to the mid-1620s, this book examines the practice of direct, scholarly disputation between fundamentally opposing and oftentimes antagonistic Catholic, Protestant and nonconformist puritan divines. Introducing a form of discourse hitherto neglected in studies of religious controversy, the volume works to rehabilitate a body of material only previously examined as part of the great, subjective mass of polemic produced in the wake of the Reformation. In so doing, it argues that public religious disputation - debate between opposing clergymen, arranged according to strict academic formulae - can offer new insights into contemporary beliefs, thought processes and conceptions of religious identity, as well as an accessible and dramatic window into the major theological controversies of the age. Formal disputation crossed confessional lines, and here provides an opportunity for a broad, comparative analysis. More than any other type of interaction or material, these encounters - and the dialogic accounts they produced - displayed the shared methods underpinning religious divisions, allowing Catholic and reformed clergymen to meet on the same field. The present volume asserts the significance of public religious disputation (and accounts thereof) in this regard, and explores their use of formal logic, academic procedure and recorded dialogue form to bolster religious controversy. In this, it further demonstrates how we might begin to move from the surviving source material for these encounters to the events themselves, and how the disputations then offer a remarkable new glimpse into the construction, rationalization and expression of post-Reformation religious argument.
From the exemplary to the notorious to the obscure, this comprehensive and innovative encyclopedia showcases the worthy women of early modern England. Poets, princesses, or pirates, the women of power and agency found in these pages are indeed worth knowing, and this volume will introduce many female figures to even the most established scholars in early modern studies. Rather than using the conventional alphabetical format of the standard biographical encyclopedia, this volume is divided into categories of women. Since many women will fit in more than one category, each woman is placed in the category that best exemplifies her life, and is cross referenced in other appropriate sections. This structure makes the book an interesting read for seasoned scholars of early modern women, while students need not already be familiar with these subjects in order to benefit from the text. Another unusual feature of this reference work is that each entry begins with some incident from the woman’s life that is particularly exciting or significant. Some entries are very brief while others are extensive. Each includes a source listing. The book is well illustrated and liberally sprinkled with quotations of the time either by or about the women in the text.
The Time of Joseph Haydn: From Sultan Mahmud I to Sultan Mahmud II (r.1730-1839), the second volume of Ottoman Empire and European Theatre, explores the relationship between Western playwrights, composers and visual artists of the eighteenth-century and Turkish-Ottoman culture, as well as the interest of Ottoman artists in European culture. Twenty-seven contributions by renowned experts shed light on the mutual influences that affected society and art for both Europeans and Ottomans. Successor to the first volume of the series, The Age of Mozart and Sultan Selim III (1756-1808), this book examines the compositions of Joseph Haydn (1732-1809) and his contemporaries along with events in the Ottoman political era during the time span from Sultan Mahmud I (b.1696, r.1730-1754) to Sultan Mahmud II (b.1785, r.1808-1839). Taking Haydn's Türkenopern ('Turkish operas') Lo speziale (1768) and L'incontro improvviso (1775) as the departure point, the articles collected in this publication reflect the growth of research in the area of cultural transfers between the Ottoman Empire and non-Ottoman Europe, as expressed in theatre, music and the visual arts. Contributions by: Emre Aracı, Annemarie Bönsch, Reinhard Buchberger, Bertrand Michael Buchmann, Necla Çıkıgil, Caryl Clark, Matthew Head, Caroline Herfert, Bent Holm, Michael Hüttler, Hans-Peter Kellner, Adam Mestyan, Isabelle Moindrot, Walter Puchner, Günsel Renda, Geoffrey Roper, Orlin Sabev, Çetın Sarıkartal, Käthe Springer-Dissmann, Suna Suner, Frances Trollope, Hans Ernst Weidinger, Daniel Winkler, Larry Wolff, Mehmet Alaaddin Yalçınkaya, Netice Yıldız, Clemens Zoidl.