'In her right hand she bore a trumpet, in her left an olive branch...' :performance space and the early modern female wind player

This dissertation examines the marriage alliances of the Riurikids, the Orthodox rulers of Kyivan Rus’, with western-rite (Latin Christian / Catholic) rulers. Using both narrative and legal sources, it considers the process by which the brides in these marriages acculturated to the environment of their husbands’ courts, and the degree to which they were able to maintain ties with the culture of their birth. Through the prism of these women’s lives, the dissertation adds to our understanding of the social history of Orthodox-Catholic interaction among lay elites from the early eleventh century to 1204. While individual clerics such as Metropolitan Ioann of Kyiv disapproved of Orthodox-Catholic marriages in the 1080s, such condemnation was an extreme position for its time, and was rooted in concerns with preserving the ritual purity of Orthodox believers. Beginning in the late twelfth century, some western lay persons and clerics also may have disapproved of ties with Rus’, but their views remained in the minority. The dissertation confirms previous findings that the so-called Church Schism of 1054 was not an essential factor in the formation of these marriages until the thirteenth century. It demonstrates that brides in these inter-rite marriages did not experience a complete conversion to the religious tradition of

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Women Between West and East: the Inter-Rite Marriages of the Kyivan Rusâ Dynasty, ca. 1000-1204

In early modern Europe the court of a prince was many things: the household of a prince, a point of contact between the ruler and the elites, a cultural trendsetter, a focal point of patronage and an important institution of regional and international politics. In short, the court had many functions. In this article the focus is on the main lines of development in the court culture of early modern Denmark, from the Reformation (1536) until early Absolutism. Certain structural changes are highlighted and an attempt is made to explain them in political terms. As a prelude, I offer some theoretical reflections on the meaning of court culture in general and ceremonial culture in particular. Let me say from the outset that I have found my inspiration mainly in German and American historical scholarship, which for the past twenty years or so has witnessed a continuous and fruitful debate on the early modern court.

State Ceremonial, Court Culture and Political Power in Early Modern Denmark, 1536-1746

Receiving Rist’s theatre – a literary-historical challenge
A claim in Die AllerEdelste Belustigung Kunsst- und Tugenliebender Gemuther (1666) indicates that Rist may have composed as many as 30 dramas. There are now only five dramatic works attributed to him: Irenaromachia (1630), Perseus (1634), Das Friedewunschende Teutschland (1647), Das Friedejauchtzende Teutschland (1653), Depositio Cornuti Typographici. The best estimate claims that only a further two had been published, a Herodes and a Wallenstein. The others have since been lost, perhaps even destroyed during Rist’s lifetime as his home was sacked twice by invading troops. Of the five that remain, Irenaromachia does not bear Rist’s name, while the Depositio differs greatly in conception and execution from the others and may not have numbered among the 30 claimed theatrical compostions. Thus the surviving dramas do not constitute a more or less unified body of works challenges German literary studies to engage with these discontinuities – a task which it consistently avoids. The problematic nature of the surviving corpus is compounded by the fact that this was only a fraction of what was produced, a situation which
invites an (albeit speculative) attempt to contextualise the surviving dramas in a wider sphere of literary-theatrical activity. This leads to the next difficulty,
considering that the composition of dramas, even when these number 30 rather than four or five, was just one area of Rist’s prolific activity as a writer. This presents the problem of how to relate Rist’s dramas to his other writings and activities. This task is itself complicated by the tendency to focus on Rist’s verse compositions, which
in the twentieth century emphasised his secular compositions.The current focus of much of Rist scholarship lies in his religious songs, from a theological, hymnological,and musicological perspective. He has also maintained a presence in the lay imagination, as several of his songs have been included in Protestant hymnbooks
since the 18th century. Scholarship is now, however, turning its attention again to Rist as a dramatist and
this thesis is part of this renewed attention. It is difficult to know what to do with Rist’s dramas. The problems they present are considerable, but this thesis will show that Rist’s dramas exist in the context of a concept of dramaturgy and a theory of acting that is much more sophisticated than has often been thought and that goes beyond the narrowly poetic into performance practice.

Johann von Rist (1607-77) and the Theory and Performance of Drama in Seventeenth Century Germany

This thesis is concerned with exploring different forms of Jacobean drama and performances that span across different sites, from the commercial stages of London, to the civic pageants that took place on the Thames and in the City, and the court entertainments held at Whitehall Palace. My research necessarily casts a wide net over its subject matter in order to illustrate how these different modes of performance engage with representations of the marine through the technologies available to them, whether poetic, material, or both. While the sea had long been a receptacle for literary and poetic attention and can repeatedly be found as the stronghold of adventure, wonder, danger, and exile in the English narrative tradition, it is specifically at the beginning of the seventeenth century that the sea takes a hold of the literary imagination with particular force.

The cultural, political, and economic predominance of the marine in early modern England found numerous means of expression in drama, where the different facets of marine identity and occupation create on-stage marine spaces. The thesis elucidates how these modes of performance often invoke and exploit the dramatic potential of the marine and its commercial, political, and iconographical meanings. Commercial drama, written for a pre-proscenial stage, realises the marine through language and metaphor, appealing to a collective imaginary in bodying forth the limitless watery expanses on which the action takes place. This imaginative embodiment finds a very different—and indeed a more material—means of expression in civic drama and the court masque, where the extensive and elaborate pageant devices and stage machinery were largely indebted to and shaped by continental theatrical design. The material means of expressing the marine that are found in the civic performances and the court masques discussed in this study necessitates a consideration of European trends in theatre design and the decorative arts. In looking to visual and material culture this thesis explicates the interdependence between different modes of creating on-stage marine spaces and the ways in which the material presence inflects both language and action in Jacobean drama.

‘A sea-change’: representations of the marine in Jacobean drama and visual culture

Triumphus Nuptialis Danicus: German Court Culture and Denmark; the Great Wedding of 1634

Festival books as historical literature: the reign of christian iv of denmark (1596–1648)

Digital Collections and the Management of Knowledge: Renaissance Emblem Literature as a Case Study for the Digitization of Rare Texts and Images

https://jps.library.utoronto.ca/index.php/emw/article/download/26109/19245

Mara R. Wade

Papers

Triumphus Nuptialis Danicus: German Court Culture and Denmark; the Great Wedding of 1634

Festival books as historical literature: the reign of christian iv of denmark (1596–1648)

Digital Collections and the Management of Knowledge: Renaissance Emblem Literature as a Case Study for the Digitization of Rare Texts and Images

The Palatine Wedding of 1613: Protestant Alliance and Court Festival

Triumphus Nuptialis Danicus: German Court Culture and Denmark. The 'Great Wedding' of 1634