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The Diary of Samuel Pepys
... The life stories of these actors presented boyhood as androgynous and gender f luid, but interestingly, as Simone Chess notes, they carried a "queer residue" with them into male adulthood, and they continued to perform feminine or androgynous roles . 44 Kynaston is probably the best-known example in modern times, thanks to Samuel Pepys's diary (August 1660) 45 and the 2004 feature film Stage Beauty, directed by Richard Eyre, a former director of the UK's National Theatre. The film depicts Edward "Ned" Kynaston as presenting as female offstage. ...
This chapter explains the concept of reparative trans performances. These performances have two strands: open-ended self-realization and restoration to perceived norms of binary gender and heterosexuality. The call for social justice may seem universal, but the exact elements requiring reparation are malleable. Additionally, literature has been used as a strategy to understand human experience. The chapter expounds on the themes behind Stage Beauty , and The King and the Clown . Whilst the works have not been analyzed as transgender performances, they are commonly looked into as texts focusing on male homosexuality. Both narratives contest essentialist ideas that uphold oppression established on binary models of gender.
... They note, however, that some of the mitigation efforts that are currently underway, particularly those affecting commerce and travel, are likely to amplify the virus's impact on economic activity." [37] The improved medical aids and technological innovations prove significant in monitoring the mortality rate. Catastrophic devastation due to pandemics in history provided insights and helped control potential epidemics to spread as pandemics across the globe. ...
There is a need for a factual understanding of the historical impact of pandemics in the world. Against this backdrop, this study provides a historical understanding of societal behaviour and responses to pandemics. Inferences are primarily drawn from a literature review from the past and present. The present analysis also reflects the ongoing COVID-19 pandemic in the world and India while providing a novel perspective to understand public health practices in a global context. It suggests the need for a more synchronised health response in pandemics while highlighting the uncertainties and challenges with historical evidence and comparisons to the ongoing pandemic. An emphasis is on learning from historical evidence and ascertaining how these retrospective diagnoses help make arguments about health and illness in our present moment.
... Bu bağlamda, benzer bir durumun 1665 yılında İngiltere'de patlak veren bir veba salgınına şahit olmuş bir üst düzey bir bürokratın biyografisinde de ifade edildiği görülmektedir. Samuel Pepys, hatıratında şu şekilde benzer bir tespitte bulunmuştur: "bir bekçi orada gece gündüz insanları içeride tutmak için bekletilmekteydi, veba bizi köpekler gibi birbirine karşı zalim yapmıştı" (Pepys, 1893). Aslında, bu ifadeler salgınların insan ve toplumları Hobbes'un varsayımsal doğa durumuna götürecek etkilere sahip olduğunu anımsatmaktadır (Spitale, 2020: 605). ...
Hane halkı gelirinin, toplum sağlığı üzerinde önemli etkileri olduğuna dair birçok çalışma bulunmaktadır. Söz konusu
etkilerin incelenmesi için, mutlak gelir hipotezi, nispi gelir hipotezi ve gelir eşitsizliği hipotezleri gibi birtakım hipotezler
ortaya atılmıştır. Mutlak gelir hipotezi, gelirde meydana gelen artışın sağlık düzeyini aynı oranda iyileştirdiğini öne
sürmektedir. Nispi gelir hipotezinde, bireylerin sağlık durumunu belirleyen etkenin mutlak gelirde meydana gelen artışın
değil, bireyin içinde yaşadığı toplumun gelir düzeyi ile ilişkili olduğu ifade edilmektedir (Wilkinson, 1996, 2001).
Gelir eşitsizliği hipotezinde ise, gelir eşitsizliği ve sağlık sorunları arasındaki ilişki incelenmiş ve gelir dağılımdaki
adaletsizliğin artmasının, sağlık üzerinde büyük ölçüde zararlı etkiler bırakabileceği öne sürülmüştür. Bu çalışmanın amacı gelir eşitsizliği ile bebek ölümleri ve yaşam beklentisi arasındaki ilişkiyi inceleyerek Türkiye’de
gelir eşitsizliği hipotezinin geçerli olup/olmadığını analiz etmektir. Çalışmanın ikinci bölümünde gelir, gelir dağılımı ve
sağlık arasındaki ilişkinin teorik çerçevesine yer verilmiş, üçüncü bölümde mutlak gelir hipotezi, nispi gelir hipotezi ve
gelir eşitsizliği hipotezlerinin ulusal ve uluslararası boyutta geçerliliğini sorgulayan ampirik literatür gözden geçirilmiş,
dördüncü bölümde veri, model, yöntem ve analiz sonuçlarına yer verilmiş ve beşinci bölümde ise sonuç ve öneriler ile
çalışma sonlandırılmıştır.
... The life stories of these actors presented boyhood as androgynous and gender f luid, but interestingly, as Simone Chess notes, they carried a "queer residue" with them into male adulthood, and they continued to perform feminine or androgynous roles . 44 Kynaston is probably the best-known example in modern times, thanks to Samuel Pepys's diary (August 1660) 45 and the 2004 feature film Stage Beauty, directed by Richard Eyre, a former director of the UK's National Theatre. The film depicts Edward "Ned" Kynaston as presenting as female offstage. ...
Analyzing trans narratives about the early moderns through the lenses of affective labor and social reparation, this chapter reclaims as trans the Shakespeare films that have been misinterpreted as homosexual. In doing so, this chapter builds a longer, more intersectional history of gendered embodiment. :::
Reparative trans performances—works in which characters see their conditions improve—carry substantial affective rewards by offering optimism and emotional gratification, as exemplified by two recent films about early modern theatre making. The South Korean blockbuster The King and the Clown (dir. Lee Joon-ik, 2005) delineates the love triangle between a fifteenth-century king, a masculine jester, and a trans feminine character. Stage Beauty (dir. Richard Eyre, Lions Gate, 2004) chronicles the private life and stage career of the historical boy actor Edward Kynaston (1640–1712) who plays exclusively female roles before taking on male roles on stage. :::
By reading these two films in the context of trans cinema, this chapter makes an intervention in both transgender and Shakespeare studies by demonstrating new ways to interpret gender variance beyond just a dramatic device. :::: https://www.cornellpress.cornell.edu/book/9781501759505/trans-historical/
... The life stories of these actors presented boyhood as androgynous and gender f luid, but interestingly, as Simone Chess notes, they carried a "queer residue" with them into male adulthood, and they continued to perform feminine or androgynous roles . 44 Kynaston is probably the best-known example in modern times, thanks to Samuel Pepys's diary (August 1660) 45 and the 2004 feature film Stage Beauty, directed by Richard Eyre, a former director of the UK's National Theatre. The film depicts Edward "Ned" Kynaston as presenting as female offstage. ...
Analyzing trans narratives about the early moderns through the lenses of affective labor and social reparation, this chapter reclaims as trans the Shakespeare films that have been misinterpreted as homosexual. In doing so, this chapter builds a longer, more intersectional history of gendered embodiment. Reparative trans performances—works in which characters see their conditions improve—carry substantial affective rewards by offering optimism and emotional gratification, as exemplified by two recent films about early modern theatre making. The South Korean blockbuster The King and the Clown (dir. Lee Joon-ik, 2005) delineates the love triangle between a fifteenth-century king, a masculine jester, and a trans feminine character. Stage Beauty (dir. Richard Eyre, Lions Gate, 2004) chronicles the private life and stage career of the historical boy actor Edward Kynaston (1640–1712) who plays exclusively female roles before taking on male roles on stage. By reading these two films in the context of trans cinema, this chapter makes an intervention in both transgender and Shakespeare studies by demonstrating new ways to interpret gender variance beyond just a dramatic device. :::: https://www.cornellpress.cornell.edu/book/9781501759505/trans-historical/#bookTabs=1 ::::: ISBN: 978-1501759505
... He also records feeling shame and a sense of disbelief at the actions he takes to ascertain whether or not his wife is being unfaithful, including trying to observe whether or not she is wearing underwear and inspecting the beds in his house. 77 After finally revealing his suspicions to his wife, she refuses to see her dance instructor while Pepys is out of the house. Pepys notes feeling ashamed of such an arrangement, although preferring this to the two of them spending time alone. ...
Focusing on the life description of clergyman Pehr Stenberg, this article examines the internal processing of romantic jealousy in a late 18th-century Swedish context. During his lifetime, Stenberg wrote a vast life description with the intent of documenting his innermost thoughts and feelings. In this account, the romantic jealousy that plagued Stenberg during his second marriage is described in intimate detail. Using this extensive and complex account to conduct a micro-historical exploration of romantic jealousy, this article displays jealousy as an entangled emotion by examining its relationship to key contemporary beliefs, thoughts and ideals, as well as to other emotions. Consequently, jealousy in relation to love and marriage, honour, psychological and physical pathology and religion is examined. Although comprising a single account, the Life Description of Pehr Stenberg manages to display the multidimensional nature of romantic jealousy and the very historically specific ways in which we explain and process our emotional experiences.
... It was the first play in which a breeches role, Ericina, was written to be played by an actress, a development that appears to have excited the audience of the day. Samuel Pepys (1971) noted in his diary that he was "most pleased to see the little girl dance in boy's apparel, she having very fine legs; only, bends in the hams as I perceive all women do" (p. 56). ...
... In 1662, the Lord High Admiral re-issued instructions that the Navy Board was to appoint each ship's standing offcers (carpenter, gunner, cook, master and boatswain). 60 However, while Collins prepared Speedwell for its Northern Seas voyage, the Admiralty had assumed direct responsibility for those appointments. 61 Initially the Admiralty sat in Wallingford House, and then throughout the Restoration functioned through the personal accommodation of its secretary. ...
... […] and after dinner went to the Assay Office and there saw the manner of assaying of gold and silver, and how silver melted down with gold do part, just being put into aqua-fortis, the silver turning into water, and the gold lying whole in the very form it was put in, mixed of gold and silver, which is a miracle… (Pepys, 2013, 1663/05/19). ...
... For some of Amy's students, the extract from Pepys' diary, his account of the fire of London (Pepys 1666), provided a model for their own diaries in which there is a Pepysian oscillation between the immediate and domestic, on the one hand, and, on the other, larger social matters. Here is a fragment from Edmir's diary that does precisely this: We met on Monday, on the bus in front of the school gates. ...
In currently dominant accounts, English as a school subject, its content and processes, are construed as an induction into a well-defined, already-established disciplinary discourse or set of discourses. In an attempt to challenge this version of English, I present some examples of autobiographical writing by secondary students and I tell the story of an observed lesson. From these instances of practice, a different picture of English emerges – one where the English classroom might be regarded as a place of literary sociability, where students enter into dialogue with each other and with the literature that they read, and where the complex challenges entailed in any attempt to represent experience in words is properly acknowledged.
Alison Wall looks into the lessons on outbreaks that can be learned from history
Although the high cultural status of Shakespeare was well established in England by the 1760s, the preceding stage history of his plays and the related adaptations are culturally much more ambiguous. This paper focuses on two adaptations of The Taming of the Shrew that were produced in 1716 in London as two short farces, both entitled The Cobler of Preston and written by Charles Johnson and Christopher Bullock respectively. By taking into account the cultural and political circumstances of the period, the analysis of the two farces demonstrates that the establishment of farcical afterpieces as one of the most popular and productive genres of early-18th-century English theatre was greatly accelerated by the staging of the two Shakespearean adaptations. This observation further shows that, as Shakespeare's authority was gradually rising, adaptations of his plays actually contributed to the development of London's commercial theatre culture, which at the time was often presented as the opposition to great classics of the past.
This introductory chapter establishes the main themes and concerns of the book: the parallels between Covid-19 and the Great Plague of London in 1665 (as portrayed in Daniel Defoe’s A Journal of the Plague Year), and what these tell us of the politics and belief systems of their respective societies. A key objective is to show that pandemics reveal the fault-lines in each society’s ideology, creating tensions within the social contract. Defoe’s work is to be used as a means of exploring those tensions in our contemporary Covid-impacted world. The intention to look at the depictions of plague in Samuel Pepys’s Diary and Albert Camus’s The Plague in comparison to Defoe’s, is also outlined.KeywordsDaniel DefoePandemic
A Journal of the Plague Year
PlagueCovid-19Spanish fluLibertarianismVirusSamuel PepysAlbert Camus
The concluding chapter summarises the argument against uncritical belief running throughout the book, arguing that we urgently need to correct this all-too-common tendency if we are to deal with other looming crises—notably, climate change. The politics of pandemics, particularly the discrepancies it highlights in health provision between rich and poor, are also summarised. An existentialist interpretation of pandemics is encouraged, especially its insistence on the basic absurdity of human existence. A Journal of the Plague Year is a text for our times in helping us put socio-political crises in perspective, and if, like H. F., we find that survival is the best outcome we can expect from an event on the pandemic scale, we should try to see that as positively as we can.KeywordsPandemicCovid-19PlagueClimate crisisSocial justiceExistentialismAbsurdVirusNeoliberalism
This chapter starts by outlining the belief system lying behind Defoe’s prose fiction, which has its roots in nonconformist religion in seventeenth-century England and the literary genre of spiritual autobiography. The importance of the concepts of predestination and providentialism within this tradition, and how they affected Defoe protagonists such as H. F. in A Journal of the Plague Year, are discussed. The notion of the plague as an act of divine vengeance, demonstrating the precariousness of human existence, is seen to hang over the narrative and all of H.F.’s actions, giving it a very sombre tone that still echoes in today’s world. The treatment of the plague in Samuel Pepys’s Diary and Albert Camus’s The Plague is also briefly analysed by way of comparison.KeywordsDaniel Defoe
A Journal of the Plague Year
Spiritual autobiographyNonconformismProvidentialismPredestinationCalvinismJohn BunyanSamuel PepysAlbert Camus
This article considers Louis XIV's purchase of Dunkirk from Charles II in 1662 as a case study in the interwoven histories of monarchy and empire. In France and England, proponents of absolutism sought to broaden definitions of conquest to encompass both diplomacy and commerce. It proved nearly impossible to bring the concept of buying or selling a town into congruence with grand dynastic designs. Analyzing diplomatic correspondence and royal history alongside an array of artistic representations, I contend, underscores the extent to which ideals of kingship collided with imperial and commercial concerns, as early modern states adapted to the realities of an interconnected seventeenth-century world.
Gender is a set of interpersonal relationships and social practices that evolve in the presence of other people , in social spaces, and over time. My theory of trans lens corrects the institutionalized cis-sexism that assumes the cis status of even those characters with fluid gender practices. It does so by questioning the purported neutrality of cisgender subject positions. Tracing the development of trans presence in Shake-spearean and global performances, this article uses Richard Eyre's film Stage Beauty as a case study to demonstrate trans lens at work, to delineate the relationships between transgender, adaptation, queer, and performance studies, and to reveal the caveats of those fields. :::: https://borrowers-ojs-azsu.tdl.org/borrowers/article/view/350
In his composition, ‘Hero’s Lament to Leander’, Nicholas Lanier sought to interweave art forms. Lanier was painter as well as a composer, an art agent for Charles I, and the Master of the King’s Music. In 1625 he was sent to Northern Italy and ended up in Mantua where he likely encountered not just Domenico Fetti’s and Peter Paul Rubens’s paintings of the Death of Leander, but also ekphrastic poems of Giambattista Marino celebrating Rubens’s painting as well as a no-longer-extant work by Bernardino Poccetti. Responding to the works of Monteverdi and Sigismondo d’India, both whom Lanier would have been familiar with and may even have met during his time in Italy, Lanier wrote both text and setting for his own recitativo cantata, ‘Hero’s Lament to Leander’. His composition responded to musical innovations that were happening in Italy: the recitativo form, as outlined by Vincenzo Galilei in his Dialogo della musica antica, et della moderna, favoured ‘ancient monodic music to the intricate web of vocal polyphony’ found in the prevailing madrigal style. Galilei, Monteverdi, and Lanier himself, sought a return to ancient poetry as verse accompanied by an instrument and perhaps even sung, and thus to the original unity of speech and song itself. Galilei’s dialogue preferred the declamatory works of orators and of classical poets, and this is where Lanier drew his inspiration, as the heroic couplets of the written text are placed in syncopation with the melodic lines Hero sings. His composition is full of intertextual allusion, to the Hero and Leander poems of Marlowe and Chapman, as well as classical sources, and the recitativo style allowed him to play with the boundaries between speech and song.
Lauren Robertson's original study shows that the theater of Shakespeare and his contemporaries responded to the crises of knowledge that roiled through early modern England by rendering them spectacular. Revealing the radical, exciting instability of the early modern theater's representational practices, Robertson uncovers the uncertainty that went to the heart of playgoing experience in this period. Doubt was not merely the purview of Hamlet and other onstage characters, but was in fact constitutive of spectators' imaginative participation in performance. Within a culture in the midst of extreme epistemological upheaval, the commercial theater licensed spectators' suspension among opposed possibilities, transforming dubiety itself into exuberantly enjoyable, spectacular show. Robertson shows that the playhouse was a site for the entertainment of uncertainty in a double sense: its pleasures made the very trial of unknowing possible.
Cryptology of the long eighteenth century became an explicit discipline of secrecy. Theorized in pedagogical texts that reached wide audiences, multimodal methods of secret writing during the period in England promoted algorithmic literacy, introducing reading practices like discernment, separation, recombination, and pattern recognition. In composition, secret writing manipulated materials and inspired new technologies in instrumentation, computation, word processing, and storage. Cryptology also revealed the visual habits of print and the observational consequences of increasing standardization in writing, challenging the relationship between print and script. Secret writing served not only military strategists and politicians; it gained popularity with everyday readers as a pleasurable cognitive activity for personal improvement and as an alternative way of thinking about secrecy and literacy.
The Evolution of Aphra Behn's Political Views
Whose fault are financial crises, and who is responsible for stopping them, or repairing the damage? Impunity and Capitalism develops a new approach to the history of capitalism and inequality by using the concept of impunity to show how financial crises stopped being crimes and became natural disasters. Trevor Jackson examines the legal regulation of capital markets in a period of unprecedented expansion in the complexity of finance ranging from the bankruptcy of Europe's richest man in 1709, to the world's first stock market crash in 1720, to the first Latin American debt crisis in 1825. He shows how, after each crisis, popular anger and improvised policy responses resulted in efforts to create a more just financial capitalism but succeeded only in changing who could act with impunity, and how. Henceforth financial crises came to seem normal and legitimate, caused by impersonal international markets, with the costs borne by domestic populations and nobody in particular at fault.
Accounts of the rhetorical tradition in early modern England often focus on the Royal Society of London and the scientific epistemologies and visual pedagogies surrounding technologies like the microscope. One critic of the Royal Society, Margaret Cavendish, theorized her own optics to counter the increasing exclusivity of the scientific community. An analysis of this woman’s optics reveals how the rhetorical concept of mimesis brought a theory of embodied, material sight to a historical moment in which objectivity was emerging. This critically imaginative analysis thus brings forth an early rhetorics of science in which alternative epistemologies may critique mechanical, experimental processes and argue for more inclusive scientific methods.
This introduction to the following five articles discusses concepts, practices and debates before and after the adoption of the term “questionnaire” in the late nineteenth century. Information gathering by way of itemized questions was established in the early modern period (c. 1500–1700). Developments associated with questionnaires in the modern period (such as mass standardized items) began in the late 1800s; but there was significant scrutiny of the questionnaire itself in the decades between the two World Wars.
p>This thesis examines how the concept of honour functioned as a part of political discourse during the reign of Charles II and in particular how this discourse of honour shifted in response to political crisis. I have chosen to examine dramatic texts, both performed and published, because they were essential building blocks in reconstituting the honour community that had been given riven by the Great Civil War of 1642-46. During the Restoration, these plays provided a public forum for exploring the impact of the recent political upheaval on the body politic. My thesis examines how dramatic texts sought to re-inscribe the relationship of the elite to the crown by attempting to reforge broken links of loyalty and by reviving cultural memories.
In the introduction, I discuss the definitions of honour, the historiography of the Restoration drama and the links between representations of honour in the Interregnum and the Restoration periods. Chapter I deals with the events of the immediate post-Restoration era and highlights how the issue of loyalty was interrogated and hammered home on the stage. Chapter II explores the failure of the government to address political problems in the first few years of the Restoration period and the extent to which the memories of Civil War continued to permeate dramatic texts in the early years of the reign of Charles II. Chapter III shows how the discourse of honour on the stage engaged with the disasters of fire, plague and war in the late 1660s. Chapter IV highlights the way in which the growth of faction posed a threat to the language of honour and how emerging concerns over a Catholic succession began to revive the notion of honour as loyalty in the latter half of the 1670s. The closing chapter examines the dramatic response to the Popish Plot and the Exclusion Crisis of 1679-81 and shows the importance of the dramatic discourse of honour in rebuilding support for the crown at this time of extreme danger for the future of the Stuart monarchy.</p
p>This study traces the ways in which the New World was incorporated by European - particularly English - fields of knowledge in the generations following Columbus's 'discovery' of America in 1492. Conceptualisations of America rapidly shifted from virtual incomprehension to a recognition and realisation of the continent's commercial potential. While English Western voyage narratives promoted the Protestant ethos of virtuous conversion, in practice, English commercial interests were determined to exploit American natural resources. Focusing on accounts of contemporary travel, exploration, and fantasy voyage narratives, the thesis charts the emergence of commercial competition between England and other European nation states for the possession of New World territories. Not all English writers, however, responded positively to these expansionist policies. Some writers - such as Phineas Fletcher and Joseph Hall - were concerned about the degenerative influence foreign contact had upon the English nation. Others - such as Richard Hakluyt, Andrew Marvel1, John Dryden and Thomas Sprat - confidently asserted the benifits of travel, trade and colonisation. Occupying an uneasy middle ground were a body of writers - including Sir Francis Bacon, Sir John Davies, John Donne, and John Milton - who debated the benefits of exploration and colonisation and formulated strategies to control their influence. As well as representing a view of 'England' within a concert of powers, voyage narratives voiced a variety of domestic issues. The idea of vnew worlds' captured the imagination of Renaissance writers. In England, the genre of the voyage narrative was a remarkably popular, diverse, and sophisticated literary form. This study demonstrates that Renaissance travel accounts were vehicles to express other social, political, religious, and cultural concerns. From Francis Bacon's empiricism to the proto-feminism of Margaret Cavendish, the thesis details the ways in which concepts of vnew worlds', literal and figurative, were important tropes which allowed English writers to explain, argue and disseminate their ideological positions. Indeed, by 1660, the voyage narrative had become one of the key discourses in which to address, with relative impunity from political repercussions, issues of the recent past.</p
Blood is life, its complex composition is finely attuned to our vital needs and functions. Blood can also signify death, while 'bloody' is a curse. Arising from the 2021 Darwin College Lectures, this volume invites leading thinkers on the subject to explore the many meanings of blood across a diverse range of disciplines. Through the eyes of artist Marc Quinn, the paradoxical nature of blood plays with the notion of self. Through those of geneticist Walter Bodmer, it becomes a scientific reality: bloodlines and diaspora capture our notions of community. The transfer of blood between bodies, as Rose George relates, can save lives, or as we learn from Claire Roddie can cure cancer. Tim Pedley and Stuart Egginton explore the extraordinary complexity of blood as a critical biological fluid. Sarah Read examines the intimate connection between blood and womanhood, as Carol Senf does in her consideration of Bram Stoker's novel Dracula.
In 2016, Wardell Armstrong undertook an archaeological excavation at St Mary’s (Leith) RC Primary School, Edinburgh (NGR: NT 27750 75980). The archaeological excavation revealed four phases of activity; Phases 1 and 2 comprised coffined and uncoffined human burials. The lack of infectious pathognomic skeletal lesions, the dating of the finds, the dendrochronological analysis of the coffin wood and technological data, along with the known historic land-use of the area, all indicate that the burial ground relates to the 1645 outbreak of plague in Leith. Dendrochronological analysis revealed a terminus post quem felling date of c 1640 for the coffin wood, while analysis of the coffins’ manufacture revealed hasty construction methods. Phase 3 comprised a series of waste disposal pits of 19th-century date. Phase 4 comprised levelling deposits, which were likely associated with the construction of the school and the demolition of the 19th-century smallpox hospital located to the north of the site. A total of 81 individuals were interred at the site. Adults represent 68.3% while non‐adults represent 31.7%. All age groups were present except neonates. Artefacts including keys, coins, sewing kits and combs were recovered. That the bodies were interred seemingly fully clothed and the corpses not rifled prior to burial strongly indicates a fear of the diseased corpse. The presence of everyday items on the bodies may also indicate a more sudden death outside the sick bed, possibly indicating the occurrence of septicaemic plague. Frequent occupation and attrition-related skeletal and dental pathologies indicate lives characterised by poverty and toil. Strontium analysis revealed that almost all individuals were local to Leith; several individuals had rosary or paternoster beads, indicating a likely Catholic affiliation, which would have been risky given that the pro-Presbyterian Covenant was signed in Leith in 1638. In contrast to older children, the younger children were interred in coffins, indicating differing views on the treatment of the body.
Addresses the motivation and enablers for digital health innovations
Contextualizes the application, technical considerations, as well as socio-psycho-economical ones influencing many digital health technologies’ acceptance and widespread use
Presents a comprehensive state-of the-art approach to digital health technologies and practices
The Diary of Samuel Pepys offers not only a firsthand account of the political and social life in the 17 th -century England, but also a profound insight into the culinary habits of the diarist and his contemporaries. In circumstances of grief or jeopardy, Pepys appears to be searching for ways to obliterate and shun the peril by turning to his favourite pleasure which is food and drink enjoyed in a good company. The author clearly treats the activity as a form of escapism and a social emollient which mitigates feuds and conquers fears. The paper examines Pepys’s life philosophy focusing on those aspects of the Diary where eating and drinking appear as the main sources of the author’s merriness and a technique which helps to overcome the hardships and adversities of everyday life.
Purpose
This paper extends the nature and relevance of exploring the historical roots of social and environmental accounting by investigating an account that recorded and made visible pollution in 17th century London. John Evelyn's Fumifugium (1661) is characterised as an external social account that bears resemblance to contemporary external accounting particularly given its problematising intentionality.
Design/methodology/approach
An interpretive content analysis of the text draws out the themes and features of social accounting. Emancipatory accounting theory is the theoretical lens through which Evelyn's social account is interpreted, applying a microhistory research approach. We interpret Fumifugium as a social account with reference to the context of the reporting accountant.
Findings
In this early example of a stakeholder “giving an account” rather than an “account rendered” by an entity, Evelyn problematises industrial pollution and its impacts with the stated intention of changing industrial practices. We find that Fumifugium was used in challenging, resisting and seeking to solve an environmental problem by highlighting the adverse consequences to those in power and rendering new solutions thinkable.
Originality/value
This is the first research paper to extend investigations of the historical roots of social and environmental accounting into the 17th century. It also extends research investigating alternative forms of account by focusing on a report produced by an interested party and includes a novel use of the emancipatory accounting theoretical lens to investigate this historic report. Fumifugium challenged the lack of accountability of businesses in ways similar to present-day campaigns to address the overwhelming challenge of climate change.
This monograph traces the development of the designs and techniques used in the production of ironwork in England from roughly AD 1050 to AD 1500. Found mostly on church doors, chests and tombs, in the form of hinges, handles, knockers or grilles the ironwork of this period is a virtually unexplored aspect of medieval art, and has proved to be a rich source of evidence for design and craft skills.
This chapter explores the irony in paintings and prints by Renaissance, Baroque, and New World colonial artists that depicted the furs, feathers, and shells of free roaming animals as symbols of wealth. Portrayed merely as decorative embellishments in an increasingly complex global market as emblems, props, and heraldry, both patron and artist negated the intrinsic essence of both native and exotic free roaming animals by exceeding the stewardship sanction of Gen. 1: 26. Moreover, because free roaming animals were perceived as “wild,” artists projected contradictory portrayals of their attributes exaggerating the human form: as sanctioned virtue or gluttonous vice.
This study begins with a critical analysis of Thai historical documents concerning the reign of Somdet Phra Narai. These records support the thesis that large numbers of foreigners, especially Mon and Iranian expatriates were active in Somdet Phra Narai's administration and assisted him in claiming the throne. The activities of Mon families are well documented in the Thai Royal Chronicles. The account of the embassy of Shah Sulaiman (the Safavid) by Muhammad ibn Ibrahim provides a tantalizing glimpse into the activities of Iranians at Ayutthaya and their influence on Somdet Phra Narai. The architecture of Somdet Phra Narai's reign contains some of the most telling evidence of the extent of the influence of Safavid culture on late seventeenth century Ayutthaya. This study examines evidence linking Somdet Phra Narai's new throne hall at Lopburi with the Ali Qapi gate of the Safavid palace at Isfahan. By the same token Somdet Phra Narai emulated Safavid royal attire. By contrast European influence on the art and architecture of Somdet Phra Narai's reign is minimal. Woodcarving, lacquer work and the evolution of Ayutthaya period painting are also discussed in great detail with the purpose of describing the characteristics of late seventeenth century Ayutthaya art and the sources of artistic styles. While Thai historical sources document in detail Somdet Phra Narai's casting of numerous large bronze Buddha images and Hindu deities, none have ever been identified. The development of late Ayutthaya crowned Buddha images and the recently redated bronze Hindu images in the Bangkok National Museum are carefully assessed. The conclusions reached place the dates of casting for at least three of the Hindu deities examined either during the reign of Somdet Phra Narai or the eighteenth century. As this study provides evidence that challenges long established art historical theories, it is approached within the framework of the development of scholarship on Thai sculpture in order to demonstrate how concepts either have gradually changed or should be changed. To further clarify the evidence, Appendix Nine presents historical and stylistic evidence for modifying the current popular theories of the development of Thai sculpture from the thirteenth century until the first fall of Ayutthaya to the Burmese in the sixteenth century. (Abstract shortened by UMI.)
This article examines the progression of the two colonies which came to the English crown as a result of the Anglo-Portuguese marriage treaty of 1661, Tangier and Bombay. The years 1662-85 act as the border for this study, taking in the entire duration of Tangier's existence as an English crown colony and Bombay's emergence as a settlement of the East India Company. Whilst English Tangier was a noted failure in colonial terms, the long-term development of Bombay proved to be a major success for the British in the subcontinent. Whilst this study will examine these divergent fortunes in social, economic and military terms, questions will also be posed as to the role which royal and chartered trading company patronage played in the success of these two settlements. This in turn will feed into the ongoing debate surrounding global approaches to colonial expansion and empire, as well as demonstrate the benefits and limitations of royal patronage in colonial development.
A história da humanidade narra sucessivas pestes que assolaram diferentes espaços geográficos, semeando sempre a morte entre as populações, dizimando milhares de pessoas. Sabemo-lo graças aos escritos de figuras históricas que relataram estes longos períodos de infecção, contágio e morte pelo menos desde o século V a.C., em que terá eclodido a primeira peste no continente europeu, conhecida como Peste de Atenas. Ao longo dos séculos que se seguiram, há relatos de reaparecimentos da peste, que proliferaram nas grandes cidades de então. Mais recentemente, o século XX, embora caracterizado pelo desenvolvimento de uma panóplia de medicamentos cada vez mais eficazes, não deixa de ser palco do surgimento de novas epidemias. O presente século XXI, é já indelevelmente marcado pela pandemia da COVID-19. Não obstante os destacados progressos das biotecnologias, as constantes mutações do vírus SARS-CoV-2 e inevitáveis incertezas advenientes colocam-nos numa posição análoga à dos nossos antepassados ignorantes relativamente às pestes que os assolavam.
This chapter proposes to examine the way music operates as a link between the two main functions of English spas, that of centres of pleasure and of places of healing. In a context in which necessity and amusement were inextricably intermeshed, and in which ailment and entertainment would inevitably go hand in hand, Degott suggests that music could be seen as a curative and restorative element, able not only to please the senses but also to bring spiritual and physical comfort. It is his contention that English spa towns offered a form of music therapy inasmuch as music, for all its potentially invasive power, was essentially perceived as conducive to improvements in spiritual, but also physical, health.
This article comprises reflections by nine members of the editorial board of the Psychotherapy and Counselling Journal of Australia (PACJA) on the impact of the coronavirus pandemic, encompassing the personal, the professional, and the political.
Poet Paul Celan speaks of a poem as ‘a message in a bottle’ washing up on ‘heartland’ (2001: 396). This idea is indeed a poignant one for our times, and for the estrangement as well as strangeness being experienced (at the time of writing) as a result of ‘lockdown’, ‘self-isolation’, and ‘social distancing’. But how can it shape the development of poetries between India and Australia? Celan’s notion has a timelessness and universality, based as it is on an intensely dialogical poetics. As this paper attempts to show, the nuances of this poetics become increasingly pertinent to this exchange between Kolkata-based academic Sharmila Ray, and myself, Perth-based poet Mags Webster. It has been, for me, an exercise in seeking poetic and ontological common ground. I discuss how, prompted by Ray’s epistolatory approach to her home city of Kolkata, I came to interrogate more deeply, in my responses and through my thinking, notions around not only the ‘to whom’ of the poem, but also, and perhaps more importantly for this particular project, the ‘about whom’.
This article presents a new understanding of how Anglican clergymen and writers remoulded common notions of the moral status of pleasure during the latter half of the seventeenth century. It addresses the current historiographical neglect of the philosophical content of ethical thought within the Church of England. For Anglican thinkers developed innovative moral arguments about the rational order of human satisfactions in order to direct the disruptive appetites towards good ends. This article illustrates the conceptual trajectory of this ethical discourse by comparing John Locke’s developing moral ideas with those of Robert South, Public Orator at Oxford after 1660, and Samuel Parker, Bishop of Oxford after 1686. For the course of Locke’s shifting ethical thought reflected a philosophical movement within an Anglican language of pleasure, from South’s moderate position – that pleasure was a significant good among other ends – to Parker’s radical stance – that goodness was reducible to that which was delightful.
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