26 results
Violence, intimacy and veins of madness in a fraught border city
- Nancy Rose Hunt, Eric Batumike, Elisée Cirhuza, Alice Mugoli, Bienvenu Mukungilwa
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This article considers the intimate, the violent and the psychopathological in Bukavu, an eastern Congolese border city known for rape and war. A phenomenological focus pries open tensions in this ruinous, neoliberal ‘boom town’, frictions related to mental health, patterns of resort, and derangement. Ethnographic portraits from co-produced fieldnotes reveal family and street dynamics and a few adaptive, public figures of madness. Bukavu knows unhinged, delirious, psychotic people and PTSD infrastructures in this ‘trauma zone’. Patterns of psychosis go with ‘vivacity’, a Foucauldian word. The non-scientific term madness points to politics and the everyday, with many mad persons roaming the streets with performances. Intimacy enables rethinking this city, where ways of telling and knowing madness speak to agitation, kinship, strangeness and ordinary matters of sleep, dress and faecal matter.
School-based victimization in children and adolescents presenting for cognitive behavioural treatment of anxiety disorders
- Caroline Hunt, Kay Bussey, Lorna Peters, Jonathan Gaston, Alice Lo, Ronald M. Rapee
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- Journal:
- Behavioural and Cognitive Psychotherapy / Volume 50 / Issue 6 / November 2022
- Published online by Cambridge University Press:
- 12 September 2022, pp. 590-603
- Print publication:
- November 2022
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Background:
Peer victimization and anxiety frequently co-occur and result in adverse outcomes in youth. Cognitive behavioural treatment is effective for anxiety and may also decrease children’s vulnerability to victimization.
Aims:This study aims to examine peer victimization in youth who have presented to clinical services seeking treatment for anxiety.
Method:Following a retrospective review of clinical research data collected within a specialized service, peer victimization was examined in 261 children and adolescents (55.6% male, mean age 10.6 years, SD = 2.83, range 6–17 years) with a diagnosed anxiety disorder who presented for cognitive behavioural treatment. Youth and their parents completed assessments of victimization, friendships, anxiety symptoms, and externalizing problems.
Results:High levels of victimization in this sample were reported. Children’s positive perceptions of their friendships were related to lower risk of relational victimization, while conduct problems were related to an increased risk of verbal and physical victimization. A subsample of these participants (n = 112, 57.1% male, mean age 10.9 years, SD = 2.89, range 6–17 years) had completed group-based cognitive behavioural treatment for their anxiety disorder. Treatment was associated with reductions in both self-reported anxiety and victimization. Results confirm the role of friendships and externalizing symptoms as factors associated with increased risk of victimization in youth with an anxiety disorder in a treatment-seeking sample.
Conclusions:Treatment for anxiety, whether in a clinic or school setting, may provide one pathway to care for young people who are victimized, as well as playing a role in preventing or reducing victimization.
A Systematic Review of the Psychometric Properties of Multidimensional Trait Perfectionism Self-Report Measures
- Alice Lo, Caroline Hunt, Maree J. Abbott
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- Journal:
- Behaviour Change / Volume 37 / Issue 2 / June 2020
- Published online by Cambridge University Press:
- 27 May 2020, pp. 45-58
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Different and evolving conceptualisations of perfectionism have led to the development of numerous perfectionism measures in an attempt to capture the true representations of the construct. It is, therefore, important to ensure that these instruments are valid and reliable. The present systematic review examined the literature for the psychometric properties of the most commonly used general multidimensional trait perfectionism self-report measures. Relevant studies were identified by a systematic electronic search of academic databases. A total of 349 studies were identified, with 38 of these meeting inclusion criteria. The psychometric properties presented in each of these studies were subjected to assessment using a standardised protocol. All studies were evaluated by two reviewers independently. Results indicated that while none of the included measures demonstrated adequacy across all of the nine psychometric properties assessed, most were found to possess adequate internal consistency and construct validity. The absence of evidence to support adequate measurement properties over a number of domains for the measures included in this review may be attributed to the criteria of adequacy used, with some appearing overly strict and less relevant to perfectionism measures. Clinical and research relevance of the present findings and directions for future research are discussed.
The Bright Star of the North: James I and his English Coronation
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- By Alice Hunt
- Edited by Meg Twycross, Pamela M. King, Sarah Carpenter, Greg Walker
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- Book:
- Medieval English Theatre 38
- Published by:
- Boydell & Brewer
- Published online:
- 20 April 2017
- Print publication:
- 18 February 2017, pp 22-37
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Summary
The survival of the ancient English coronation ceremony is surprising. The establishment of monarchical supremacy following England's break with Rome, together with religious reformers’ critical scrutiny of ceremony throughout the sixteenth century, could have threatened the Latin ritual, rooted in Anglo-Saxon notions of the election of a king and his transformation into a sacred person with priestly powers — a persona mixta. But the coronations of all the Tudor monarchs, from Henry VII to Elizabeth, remained largely unchanged. And, in 1603, when James VI of Scotland was crowned James I of England, following ceremonial precedent was a way of emphasizing James's legitimacy (despite being a Scot) and claiming continuity with the past. Many of the verses and speeches written in celebration of James I's accession depict him as a new star — a natural successor — while also alluding to the powers of the oil with which his body would be anointed in the coronation ceremony, following the precedent of English kings. The Recorder of London Richard Martin's welcoming ‘Oration’ to James, for example, describes him as the ‘bright starre of the North’ while Henry Petowe in England's Caesar refers to him as God's ‘anoynted derest loue’. Shakespeare probably wrote his sonnet 107, ‘Not mine own fears …’, in the year of James's accession, and it certainly alludes to both Elizabeth and James:
The mortal moon hath her eclipse endur'd And the sad augurs mock their own presage; Incertainties now crown themselves assur'd And peace proclaims olives of endless age. Now with the drops of this most balmy time My love looks fresh, and Death to me subscribes …
The ‘mortal moon’ (Elizabeth) has been eclipsed, and the coronation and anointing of a new king are invoked by ‘incertainties’ being crowned and the ‘drops of this most balmy time’. Monarchical succession here is both a natural event (albeit portentous) — a moon is eclipsed and another body takes its place — and an event that is inextricably linked to crowns and oil.
Susan Doran and Thomas S. Freeman, eds. Mary Tudor: Old and New Perspectives. Basingstoke: Palgrave Macmillan, 2011. xiv + 346 pp. $31.95. ISBN: 978–0–230–00463–4.
- Alice Hunt
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- Journal:
- Renaissance Quarterly / Volume 65 / Issue 4 / Winter 2012
- Published online by Cambridge University Press:
- 20 November 2018, pp. 1324-1325
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- Winter 2012
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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Jeri L. McIntosh. From Heads of Household to Heads of State: The Preaccession Households of Mary and Elizabeth Tudor, 1516–1558. Gutenberg<e>. New York: Columbia University Press, 2008. xii + 251 pp. append. tbls. bibl. $60. ISBN: 978–0–231–13550–4.
- Alice Hunt
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- Journal:
- Renaissance Quarterly / Volume 62 / Issue 4 / Winter 2009
- Published online by Cambridge University Press:
- 20 November 2018, pp. 1339-1340
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- Winter 2009
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THE MONARCHICAL REPUBLIC OF MARY I*
- ALICE HUNT
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- Journal:
- The Historical Journal / Volume 52 / Issue 3 / September 2009
- Published online by Cambridge University Press:
- 04 August 2009, pp. 557-572
- Print publication:
- September 2009
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In his celebrated 1987 essay, ‘The monarchical republic of Queen Elizabeth I’, Patrick Collinson wrote that ‘Elizabethan England was a republic which also happened to be a monarchy: or vice versa.’ Since then, the idea of an Elizabethan ‘monarchical republic’ has been tested, challenged, and developed, with precedents found in Henry VIII's and Edward VI's reigns. Mary I's reign has not, however, been considered for its contribution to the debates. Yet, in 1553, the unique circumstances of Mary's accession as England's first queen regnant, who was also still legally a bastard, exacerbated sixteenth-century anxieties about monarchical authority, and about the correct relationship between a monarch and parliament. Prior to Mary's coronation, her council put forward an unprecedented proposal: they wanted parliament to sit before Mary was anointed and crowned queen. This article explores this proposal, in conjunction with two texts, Richard Taverner's An oration gratulatory made upon the joyfull proclayming of the moste noble Princes Quene Mary Quene of Englande and the play Respublica, to argue that, at the beginning of her reign, significant pressure was put on Mary to rule her country as a ‘monarchical republic’.
Epilogue: ‘Presume not that I am the thing I was’
- Alice Hunt, University of Southampton
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- The Drama of Coronation
- Published online:
- 22 September 2009
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- 25 September 2008, pp 173-177
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There is, in the end, no grand, conclusive answer to this book's initial question: ‘What art thou, thou idol ceremony?’ It remains a question that was still being asked at the end of the sixteenth century, both by ceremonies themselves and, increasingly, by their dramatic counterparts. Coronation retained its political and cultural legitimacy at the same time as becoming increasingly troubling and divisive and at the mercy of its specific historical moments. We cannot ever know what Elizabeth I or contemporary witnesses really understood about her coronation, but it is clear that it cannot be dismissed as an empty form, as just ‘idle’ ceremony, or indeed as simply the abominable ‘idol’ of Catholic ceremony. The legitimising power of the ceremony persists, as does the idea of the sacred body of the monarch, despite interpretative confusion and confessional wrangles. Similarly, it is inadequate to label Elizabeth I's procession as a secular show of state, as the regime's calculated exploitation of (Catholic) ceremonial theatrics in order to promote coherent Protestant policy and majesty. Mulcaster's text, for example, is coercive and persuasive, and is directed as much at the queen as at the buying public.
As a composite form that was not restricted to the consecration in the Abbey but included proclamations, processions, pageantry and plays, the coronation ceremony fell subject to many, often competing, pressures and interests and it reflected, absorbed and resisted change across the political, religious and symbolical spheres.
Chapter 2 - ‘Come my love thou shalbe crowned’: the drama of Anne Boleyn's coronation
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp 39-76
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The crowning of the visibly pregnant new queen, while contentious, contributed to the establishment and legitimation of the new Tudor supremacy and to constructions of imperial England. It was, in many ways, a second coronation for Henry. Shortly before the ceremony, Henry redrafted his own coronation oath – a manuscript copy of which is still extant. Contrary to expectation, perhaps, this key royal ceremony of the Reformation period did not triumphantly usher in the new religion; to argue that it did so conflates the supremacy with doctrinal reform. But neither was Anne's coronation a straightforward opportunity or excuse for Henry to promote and enforce his new supremacy. The accounts of this coronation are suggestive of a more complex and sincere belief in the necessary legitimising power of ceremony and pageantry. The day before the coronation in Westminster Abbey, Anne participated in an elaborate procession through London whose accompanying dramatic pageants constituted an important counterpart and response to the sacred rite. The contemporary descriptive account, The noble tryumphaunt coronacyon of quene Anne, wyfe unto the moost noble kynge Henry the viii, published by Wynkyn de Worde, and the English and Latin pageant verses composed by Nicholas Udall and John Leland, indicate that a dynamic existed between court and city which meant that important state ceremonies were not one-way affairs, and hence presented opportunities for cultural invention and interpretation.
Index
- Alice Hunt, University of Southampton
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- Book:
- The Drama of Coronation
- Published online:
- 22 September 2009
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The Drama of Coronation
- Medieval Ceremony in Early Modern England
- Alice Hunt
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- 22 September 2009
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- 25 September 2008
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The coronation was, and perhaps still is, one of the most important ceremonies of a monarch's reign. This book examines the five coronations that took place in England between 1509 and 1559. It considers how the sacred rite and its related ceremonies and pageants responded to monarchical and religious change, and charts how they were interpreted by contemporary observers. Hunt challenges the popular position that has conflated royal ceremony with political propaganda and argues for a deeper understanding of the symbolic complexity of ceremony. At the heart of the study is an investigation into the vexed issues of legitimacy and representation which leads Hunt to identify the emergence of an important and fruitful exchange between ceremony and drama. This exchange will have significant implications for our understanding both of the period's theatre and of the cultural effects of the Protestant Reformation.
Chapter 5 - ‘A stage wherin was shewed the wonderfull spectacle’: representing Elizabeth I's coronation
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp 146-172
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Summary
The anxieties raised by the coronation of Mary Tudor in 1553 resurfaced in 1559. Elizabeth's legitimacy of birth, uncertainty about her religion, the re-establishment of the supremacy and the fact that she was another unmarried English queen were as problematic for Elizabeth as for her sister. Elizabeth's coronation contains echoes of her mother's and siblings' coronations. Certain images, themes and words reverberate. The procession pageantry of 1559 recalls Anne Boleyn and her procession of 1533, and alterations to the coronation liturgy, perhaps even the oath that Elizabeth swore, rekindle the revisions introduced at Edward's service. Most of all, the attempt to crown Mary as a parliamentary queen surfaces again at Elizabeth's coronation and is given explicit visual expression in a pageant scene reminiscent of Nicholas Udall's Respublica. In terms of the Reformation, Elizabeth's coronation service has become a fraught and contested site for meaning, fought over for its declaration of the regime's religious policy. The interpretative confusion and possibilities for plurality generated by Mary I's coronation were also present in 1559: at the centre of Elizabeth's ceremony is the intriguing but unsolved mystery of what happened during the mass. It is as an integral counterpart to the fragile context of Elizabeth's accession and coronation, and the ambiguity of the direction that religion would take, that Richard Mulcaster's celebrated procession text, The Quenes majesties passage, appears on the scene.
Chapter 3 - ‘But a ceremony’: Edward VI's reformed coronation and John Bale's King Johan
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp 77-110
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On 20 February 1547, Edward VI was anointed and crowned by Thomas Cranmer in Westminster Abbey. He was nine years old. On the following Tuesday, Shrove Tuesday, plays and masques were performed as part of the traditional post-coronation entertainments. The Revels' accounts record payments for the ‘newe making and altering of Sundry maskes, and garmentes for players agenste the Coronacion of our soveraigne lorde Edward the Sixth’. Players included children and gentlemen of the Chapel Royal, and even King Edward himself. No further details about the play texts are extant, but the costumes and props itemised are highly suggestive: the plays featured cardinals, priests, popes and monarchs. Costumes included orders for ‘Silk lace and Tasselles for Cardynalles hattes for players’, ‘the making of Crownes & Crosse for the poope in playe’ and ‘iii Cappes of Crimson & black satten for prestes in pley’.
Edward VI's coronation was subjected to substantial revision and interpretation. He was the first monarch to be formally proclaimed king prior to his coronation and the Recognition and the oath were redrafted by his Privy Council. Archbishop Cranmer delivered an address before he anointed Edward in which he declared that the ‘solemn rites of coronation have their ends and utility; yet neither direct force or necessity’ and that ‘the oil, if added, is but a ceremony’. The Privy Council's revisions to Edward's ceremony and Cranmer's notorious sermon transformed the sacred rite into a type of drama, albeit a necessary one.
Chapter 4 - ‘He hath sent Marye our soveraigne and Quene’: England's first queen and Respublica
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp 111-145
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In histories of the Reformation, the accession of Mary is often depicted as the stumbling block, a step backwards and an aberration. Unequivocally Catholic, her reign has been classified as disastrous, unimaginative and ineffective. But Mary's coronation on 1 October 1553, and the extraordinary circumstances surrounding her accession, position her coronation as a crucial link between Edward VI's and Elizabeth I's ceremonies, with significant implications for the future of monarchical politics and purpose of sacred royal ceremonies.
Mary's reign is still traditionally viewed through the prism of her religion, but this chapter argues for the inextricability of three major issues surrounding Mary's accession: legitimacy of birth, legitimacy of gender and legitimacy of religion. Mary was England's first acknowledged queen regnant. She was also Catholic and, in some eyes, legally a bastard. Furthermore, the law meant that Mary could be declared Supreme Head of the Church of England. There was no precedent for a queen regnant, let alone for a female and Catholic supremacy. As a possible solution to this problem, Mary's newly formed Council came up with an unusual plan whose significance has, until now, been overlooked by critics. Certain key members of the Council proposed to postpone Mary's coronation until after Parliament had opened and safely declared her queen. Such a reversal of the established sequence of events at the beginning of a monarch's reign was unprecedented, and it signals a fundamental turning point in the sixteenth century.
Preface
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp vi-vii
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The image on the jacket of this book is known as ‘The “Coronation” Portrait of Queen Elizabeth I’. It marks this book's starting point: Elizabeth I and her contested coronation ceremony in Westminster Abbey on 15 January 1559. The portrait is remarkable for being the only formal coronation portrait of any Tudor monarch to survive. It was painted by an unknown artist in about 1600, and is either a copy of an earlier coronation portrait or was commissioned at the end of Elizabeth's reign. In either case, this painting chooses to remember Elizabeth as the young, newly anointed queen she once was and recalls a ritual of transformation. The survival of ceremony in Reformation England is the subject of this book. Moving backwards from Elizabeth, it examines the coronation ceremonies of four of her predecessors. Since there are very few visual records of Tudor coronations, the book considers how these rites have been described and represented in words, from court documents to pageants and plays.
This book began as a doctoral thesis and I would like to acknowledge and thank my supervisor Tom Healy for his unfailing support, guidance and encouragement. For reading and commenting so thoughtfully on all or parts of the book, at different points, I'd like to thank Tom Betteridge, Patrick Collinson, Harriet Jaine, Louisa Joyner, Ita Mac Carthy, Gordon McMullan, Toby Mundy, Kiernan Ryan, Richard Scholar, Charlotte Scott, Greg Walker and Anna Whitelock.
Chapter 1 - Why crown a king? Henry VIII and the medieval coronation
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp 12-38
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In 1838, during a debate about Victoria's forthcoming coronation, Earl Fitzwilliam declared that ‘coronations were fit only for barbarous, or semi-barbarous ages; for periods when crowns were won and lost by unruly violence and ferocious contests’. Fitzwilliam's contention was that when a monarch's legitimacy is not in doubt, and he or she earns the English crown through divine right alone, there is simply no point to a coronation. But the ‘semi-barbarous’ ages to which he refers were long gone, and yet the coronation continued during the medieval period, unruly deposition or peaceful succession notwithstanding. Henry VII won his crown on Bosworth Field but the legitimacy of his second son and heir, Henry VIII, was not in doubt and both Henrys were crowned according to the ‘usual ceremonies’, as the Venetian ambassador described of Henry VIII's coronation in June 1509. The survival of the coronation ceremony in England is a unique story. As Paul Kléber Monod points out, only the French coronation can compare in its claims for the sacred body and the healing powers of the anointed king. Despite its Frankish origins and shared characteristics with Byzantine imperial crownings in imitation of ancient Rome, the coronation throughout Europe fulfilled different cultural roles which were not necessarily indicators of how sacred the office of monarchy was held to be, suggesting instead divergent attitudes towards the function of the ceremony.
Frontmatter
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp i-iv
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List of abbreviations
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp ix-x
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Introduction: the ‘idol’ ceremony of coronation
- Alice Hunt, University of Southampton
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- The Drama of Coronation
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- 22 September 2009
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- 25 September 2008, pp 1-11
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In Shakespeare's King Henry V, Henry puzzles over the purpose of royal ceremony. Addressing ceremony as if it were a separate being and uncertain god, he imploringly asks, ‘And what art thou, thou idol ceremony?’ His question plays on the words ‘idol’ and ‘idle’, on the distinction between false and meaningful worship and on ceremony's simultaneous awe and poison. Even as Henry invokes ceremony as proud, unhealthy, unhappily futile, he also grants it power through the plenitude and urgency of his language: ceremony is ‘adoration’, ‘thrice-gorgeous’, vital and inevitable: it is ‘the tide of pomp / That beats upon the high shore of this world’ (iv. 1. 242, 263, 261–2).
This book asks ‘what art thou?’ of the coronation ceremony in the sixteenth century, the moment when the ‘balm, the sceptre and the ball, / The sword, the mace, the crown imperial, / The intertissued robe of gold and pearl’ (iv. 1. 257–9) were consecrated and bestowed on the new monarch, transforming the rightful heir into divine ruler. Unusually, a total of five coronations – those of Henry VIII, Anne Boleyn, Edward VI, Mary Tudor and Elizabeth I – took place between 1509 and 1559, years during which England underwent a series of profound changes. The relationships between ceremony and religious reformation, and between ceremony and monarchical power, were increasingly contested during this period, and this book presents a new understanding of the survival of the ‘idol’ ceremony of coronation and its role in early modern English culture.