Being a woman in the 1600s

Pirate typologies in the 1600s

Fashions:http://

www.thefashionhistorian.com/2011/10/classifying-17th-century-part-1.html

http://www.pinterest.com/mwojdak/17th-century-fashion/

Dressing up

… and some more

Elizabeth Car, Lady Falkland (1585-1639) Poet, translator, dramatist 11 children Disinherited by her farther Abandoned to poverty by her husband,denied access to her children in 1626 due toher being publicly Catholic Pressure to convert; custody battles Author of the first original play in English written by

a woman: Fair Queen of Jewry (1613)

Respectable Women: the Wife

Feliciana Enríquez de Guzman (1569-1644)

Studied at the University of Salamanca,disguised as a man Earned degrees in theology and astrologybefore being found out Author of several plays; Lope de Vega disliked her as a

dramatist, but sympathized with her as a person Two marriages: to a low-rank aristocrat, and to a lawyer; died

a widow A life plagued by economic difficulties, despite a relatively

prominent social standing

Respectable Women: the Widow

Sor Juana Inés de la Cruz (1651-1695) Born in Mexico, grandfather was an hacienda owner Child prodigy, excelled in languages and math Attempted to attend university in Mexico City in male disguise; continued her studies privately At 17, astonishes a jury of theologians, law scholars, philosophers, and poets with her knowledge and insight Supported by the Viceroys Declines multiple marriage proposals, becomes a nun Gains fame and recognition as a writer and poet The church turns against her; condemned by theArchbishop of Mexico; ceased writing to avoid official censure One of the most important intellectuals of her time, dies being denied access to her books and music as a form of penance

Respectable Women: the Nun

Rachel Ruysh (1664-1750) Daughter of a professor of botany Painter of still lives, one of the twobest Dutch masters of the genre, the other being Abraham Mignon First female member of the ConfreirePictura in The Hague Court painter for the court in Dusseldorf, 1708-16 Married a portrait painter; 10 children Lived into her 80s, actively painting

Some stories were happy…

Anti-establishment sexual behavior linked to piracy in

the 17th century Aggression and unruly masculinity: not suited for

domesticity, but serving and protecting English interests The Double Marriage: the use of Turk as signifier of other

religions, including other versions of Christianity Nobility, chivalry, courtesy of the pirate: contrast with

the King The female pirate: defiance of the traditionally accepted

female behavior; changes from formidable warrior (‘martial maid’) to a traitor and whore (‘slave to lust’)

“Piracy, Sexuality, Tyranny”

The Sea Voyage: central theme and debate is the

definition of “piracy” The Iberian represented by the Portuguese, the “others”

represented by the French (in the interpretation of the play: Portugal = Spain; France = England)

Anti-Catholic sentiments, territorial aspirations, colonial struggle, and the ‘patriotic pirate’ modeled after Drake and Raleigh: men of action and vision whose heroic behavior is condonable in disputed locations

The two sides of seaborne violence, and the ambiguity towards policies being enacted at the time of writing of the play

“Piracy and Mercantile Nationalism”

The Unnatural Combat: Mediterranean corsairs In the play: the pirate crisis is not so much a result of

national/international issues, but of the corruption of the Admiral defending Marseilles

Defeating the Algerian pirates was historically possible by the joint effort of Spain, England, Holland, and France

Central question: when does lucrative violence at sea turn into piracy?

Flipped associations: the contrast between the pirates (fair payment, discipline on the ships, harmonious and honorable relationships, restraint and honor) and the government of Marseilles (chaos and corruption)

Once again, “Turk” comes to signify someone of different religion in general

“All Change: Admirals, Pirates, Corruption”