190 research outputs found

    Elegy, prophecy, and politics: literary responses to the death of Prince Henry Stuart, 1612-1614

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    This article examines literary responses to the death of Prince Henry Stuart. These texts were written by figures from across the religious and political spectrum. They demonstrate an intriguing variety of responses – sceptical, moderate, and militant. They show that the implications of Henry's death were unstable and keenly contested. Specifically, I look at how elegists use the prophetic voice in order to comment on the political situation in the aftermath of Henry's death, especially in relation to the fortunes of militant Protestantism. Elegists offered advice and critique by using the divine sanction of the prophetic voice, advice that in other contexts would probably not be possible. The final part of this article examines John Webster's elegy for the prince, and reconsiders its relationship to his tragedy The Duchess of Malfi (1613/14). I suggest that the play's thematic interest in elegy, prophecy, and politics, allows Webster to express both militant futility and expectation in the aftermath of Henry's death

    Calvinism, Subjectivity and Early Modern Drama

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    This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama

    Frances Quarles’ Early Poetry and the Discourses of Jacobean Spenserianism

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    [opening paragraph:] Early in 1621, King James was obliged to recall parliament for the first time in seven years. He took this action in response to the outbreak of war in Bohemia the year previously, a crisis that had already spread to neighbouring states in central Europe.[1] These events had been precipitated by the less than politic actions of James’ son in law, Frederick, Elector Palatine. In 1619, and against his father in law’s advice, he acquiesced in the deposition of the Catholic ruler of Bohemia, Ferdinand. Frederick assumed the crown and restored Protestant rule to Bohemia. These actions had a number of consequences. First, Frederick antagonised the dual forces of the Holy Roman Empire and Spain, whose response was swift and decisive. Frederick’s army was ignominiously defeated outside Prague in 1620, a number of his commanders were sentenced to death in Prague Castle, and those who managed to escape joined the erstwhile Elector and his wife Elizabeth in exile in Holland. Second, and more pressingly, the crisis threatened to undermine the negotiations taking place for a marriage between James’ son, Charles, and the Spanish Infanta. The fact that James’s foreign policy was recognised across Europe as being assiduously and consistently based on the guiding principle of political pacifism made Frederick’s actions all the more provocative.[2] In England, the issue of how best to respond to the crisis divided opinion. [...

    Complex Kinetics in the Reaction of Taurine with Aqueous Bromine and Acidic Bromate : A Possible Cytoprotective Role against Hypobromous Acid

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    The most abundant aminoacid in the human body, 2-aminoethanesulphonic acid (H2NCH2CH2SO3H), is surprisingly stable and reacts exceedingly slowly even with the most powerful oxidizing agents like acidic bromate. Oxidation occurs only on the nitrogen centre to give the corresponding N-derivatives. No activity is observed at the sulphonic acid group and no cleavage of the C-S bond is observed. The stoichiometry of the oxidation of 2-aminoethanesulphonic acid by bromate is complex, yielding a mixture of monobromo- and dibromotaurines, oximes as well as the corresponding dimeric azo-compounds. In the presence of added bromide, the stoichiometry of the reaction is : 2BrO3- + 3H2NCH2CH2SO3H + 6H+ + 4Br- -> 3Br2NCH2CH2SO3H + 6H2O. Monobromotaurine is formedas an intermediate product before formation of the dibromotaurine. Aqueous bromine reacts quantitatively with 2-aminomethanesulphonic acid according to the stoichiometry : H2NCH2CH2SO3H + 2Br2 -> Br2NCH2CH2SO3H + 2Br- + 2H+. This reaction is strongly inhibited by acid due to the deactivation of the amino group to electrophilic attack by protonation. The formation of N-bromotaurines is suggested as a possible mechanism by which taurine can moderate the oxidative toxicity of bromine and hypobromous acid in the slightly basic physiological environments. South African Journal of Chemistry Vol.55 2002: 136-14

    Fatality after deliberate ingestion of sustained-release ibuprofen: a case report

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    INTRODUCTION: Ibuprofen is a nonsteroidal anti-inflammatory drug available over the counter and on prescription for the management of pain and inflammation. Severe toxicity is rare following deliberate self-poisoning with ibuprofen, and patients are usually either asymptomatic or develop only mild gastrointestinal toxicity. Although there have been nine other reported fatalities, co-existent factors have probably contributed to all of these deaths. We report here a fatality from isolated toxicity following self-poisoning with sustained-release ibuprofen. CASE REPORT: A 26-year-old female presented after deliberate ingestion of up to 105 g sustained-release ibuprofen, with a reduced level of consciousness, severe metabolic acidosis and haemodynamic compromise. Despite intensive supportive management, gut decontamination with multidose activated charcoal and correction of the metabolic acidosis with sodium bicarbonate and haemofiltration, the patient did not survive. The ibuprofen concentration ante mortem on presentation in peripheral blood was 760 mg/l and the concentrations post mortem were 518 mg/l in peripheral blood, 74 mg/kg in liver extract and 116 mg/l in the gastric contents. DISCUSSION: Most patients with ibuprofen poisoning are either asymptomatic or have mild gastrointestinal symptoms; severe poisoning with ibuprofen is rare. We report the first death related to isolated sustained-release ibuprofen poisoning

    Fatality after deliberate ingestion of the pesticide rotenone: a case report

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    Rotenone is a pesticide derived from the roots of plants from the Leguminosae family. Poisoning following deliberate ingestion of these plant roots has commonly been reported in Papua New Guinea. However, poisoning with commercially available rotenone in humans has been reported only once previously following accidental ingestion in a 3.5-year-old child. Therefore, the optimal management of rotenone poisoning is not known. After deliberate ingestion of up to 200 ml of a commercially available 0.8% rotenone solution, a 47-year-old female on regular metformin presented with a reduced level of consciousness, metabolic acidosis and respiratory compromise. Metformin was not detected in premortem blood samples obtained. Despite intensive supportive management, admission to an intensive care unit, and empirical use of N-acetylcysteine and antioxidant therapy, she did not survive. Poisoning with rotenone is uncommon but is potentially fatal because this agent inhibits the mitochondrial respiratory chain. In vitro cell studies have shown that rotenone-induced toxicity is reduced by the use of N-acetylcysteine, antioxidants and potassium channel openers. However, no animal studies have been reported that confirm these findings, and there are no previous reports of attempted use of these agents in patients with acute rotenone-induced toxicity

    Indulgent representation: theatricality and sectarian metaphor in The Tempest

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    At the end of The Tempest, Prospero (or, perhaps, the actor playing him) urges the audience, ‘As you from crimes would pardoned be, / Let your indulgence set me free’ (5.1.337-8). The lines are a plea for applause, for the audience to conclude the drama happily. As the play-world dissolves into the real world, at the threshold between fiction and reality, Prospero appeals to be set free from representation. He strikes an ethical bargain in the mode of the Lord's Prayer (‘forgive us our trespasses as we forgive those who trespass against us’). But, in speaking of ‘pardon’ and ‘indulgence’, he also alludes to a much maligned Catholic practice of purchased remission of sins. Thus, the audience's decision over whether or not to applaud the drama is playfully implicated in trying out a confessional attitude. Even so, the status of these ‘Catholic’ terms as wordplay means that they only flirt with sectarian resonance, rather than declaring a theological message. Taking the play's self-conscious theatricality as a starting point, this essay explores the ambiguity of this epilogue. It questions what it means for a post-Reformation audience to ‘indulge’ in metaphorically ‘Catholic’ behaviour, and how a play that stages forgiveness as a form of revenge negotiates difference ethically. These themes are part of a broader theatrical dynamic in which representation is constantly destabilised. The essay offers a case-study of the significance of equivocally Catholic material in post-Reformation drama, suggesting that as much attention needs to be paid to dramaturgy as to theology
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