Renaissance Studies Commons^™

"To Keep Men In Awe": Religious Subversion And Anti-Providentialism In Marlowe's Tamburlaine And The Jew Of Malta, Will White

Honors Theses

In early modern England, the term “atheist” held quite a different meaning from its modern usage. Most often, it referred not to person who rejected God’s existence, but who rejected the validity of divine providence: the notion that God exerts control and order over the events of Earth. This understanding of atheism informs the reading of the 16th century playwright Christopher Marlowe, whose connection to atheistic ideas is perhaps more visible than any of his contemporaries. In this thesis, I argue that the unifying element of religion in Marlowe’s drama is anti-providentialism – a rejection of providence. I examine two …

Jewish Presence In The Venetian Empire: A Challenge To Venetian Mythology, Avery Rosensweig

Honors Theses

This paper attempts to explain the significance of Jewish presence in the Venetian Empire in the context of the myth of Venice. Jews were officially permitted to settle in Venice in 1516, but their connection with the Venetian Empire goes further back. Jews were important for the success of the Venetian Empire, particularly from the sixteenth century onward. The permanent settlement of the Jews in Venice directly impacted the very ideology of the Venetian Empire.

Although the phrase "myth of Venice" was developed by twentieth-century historians, Venetians perpetuated the myth and wove its ideals into the foundation of the Venetian …

Music And Communal Division During The French Wars Of Religion, Cameron G. Wade

Honors Theses

This Senior Honors Thesis explores the social and cultural impact of confessional musical composition and performance on the French Wars of Religion (1562-1598). Because Huguenots and Catholics identified with and were widely identifiable by their respective musical styles, cultural divisions between each confession were emphasized by differences in music. This capacity of sacred and confessionally-influenced secular music to highlight and reinforce societal divides is evidenced by the interconfessional violence that accompanied the public performance of sacred music in cities as well as the pressures imposed on composers to create music which clearly aligned with their respective confessions. As the wars …