{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/81464"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/81464","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Agents of History: Women and Royal Politics in Early Modern Historical Narratives and Plays","abstract":"This study analyzes history writing ranging from the chronicle history of Edward Hall and Polydore Vergil, the political histories of Thomas More and Francis Bacon, and the Protestant martyrology of John Foxe, to the canonical Shakespearean works and lesser-known dramas that comprised the history play genre, most popular in the 1590s but written as late as the 1630s. Unlike previous literary critics who view historical narratives primarily as source texts for history plays, I treat the narratives and plays as intertexts whose disjunctions have real effects on audiences and readers. I analyze Richard III, The True Tragedy of Richard III, Edward IV, Henry VIII, and Perkin Warbeck as thoughtful dramatic revisions of narrative history that invite readers and audiences to recall the contrastive historical accounts available across these genres. By juxtaposing intertextual histories, I show how competing representations of female figures informed popular historical consciousness and conceptions of women's participation in the emerging national identity of Tudor and Stuart England.","abstract_html":"This study analyzes history writing ranging from the chronicle history of Edward Hall and Polydore Vergil, the political histories of Thomas More and Francis Bacon, and the Protestant martyrology of John Foxe, to the canonical Shakespearean works and lesser-known dramas that comprised the history play genre, most popular in the 1590s but written as late as the 1630s. Unlike previous literary critics who view historical narratives primarily as source texts for history plays, I treat the narratives and plays as intertexts whose disjunctions have real effects on audiences and readers. I analyze Richard III, The True Tragedy of Richard III, Edward IV, Henry VIII, and Perkin Warbeck as thoughtful dramatic revisions of narrative history that invite readers and audiences to recall the contrastive historical accounts available across these genres. By juxtaposing intertextual histories, I show how competing representations of female figures informed popular historical consciousness and conceptions of women's participation in the emerging national identity of Tudor and Stuart England.","abstract_has_math":false,"creators":["Meyer, Allison E."],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"English","degree_department":null,"school":null,"contributors":["Lori Humphrey Newcomb"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T20:15:30Z","date_published":"2015-09-25T20:15:30Z","updated_at":"2026-07-22T22:26:16Z","subjects":["Theater History"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3425398"],"render_values":[{"text":"(MiAaPQ)AAI3425398","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/81464","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Lori Humphrey Newcomb"]},{"key":"dc:creator","label":"Author","values":["Meyer, Allison E."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T20:15:30Z","10000-01-01","2010"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Theater History"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/81464","(MiAaPQ)AAI3425398"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This study analyzes history writing ranging from the chronicle history of Edward Hall and Polydore Vergil, the political histories of Thomas More and Francis Bacon, and the Protestant martyrology of John Foxe, to the canonical Shakespearean works and lesser-known dramas that comprised the history play genre, most popular in the 1590s but written as late as the 1630s. Unlike previous literary critics who view historical narratives primarily as source texts for history plays, I treat the narratives and plays as intertexts whose disjunctions have real effects on audiences and readers. I analyze Richard III, The True Tragedy of Richard III, Edward IV, Henry VIII, and Perkin Warbeck as thoughtful dramatic revisions of narrative history that invite readers and audiences to recall the contrastive historical accounts available across these genres. By juxtaposing intertextual histories, I show how competing representations of female figures informed popular historical consciousness and conceptions of women's participation in the emerging national identity of Tudor and Stuart England.","Made available in DSpace on 2015-09-25T20:15:30Z (GMT). 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Unlike previous literary critics who view historical narratives primarily as source texts for history plays, I treat the narratives and plays as intertexts whose disjunctions have real effects on audiences and readers. I analyze Richard III, The True Tragedy of Richard III, Edward IV, Henry VIII, and Perkin Warbeck as thoughtful dramatic revisions of narrative history that invite readers and audiences to recall the contrastive historical accounts available across these genres. By juxtaposing intertextual histories, I show how competing representations of female figures informed popular historical consciousness and conceptions of women's participation in the emerging national identity of Tudor and Stuart England.","Made available in DSpace on 2015-09-25T20:15:30Z (GMT). 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