Pub Date : 2021-01-02DOI: 10.1080/14629712.2021.1887601
Tülay Artan
From 1676 to 1725, the Ottoman state drew up seven protocol codes for regulating court rituals, processions or celebrations. Taken together, they reveal a complex evolution. Their overall context and raison d’être was a major crisis in governance. Around the middle of the seventeenth century, a combination of external threats with internal unrest became so grave that the sultan and his family, accompanied by numerous court dignitaries and officials, were forced to leave Istanbul and take refuge in Edirne. For the next fifty years or so, it was a succession of grand viziers from the Köprülü family who ran the Empire in quasi-dynastic fashion, partially restoring a semblance of order which however collapsed yet again in the wake of an over-ambitious Vienna expedition. In the process, the court rules and procedures surrounding and representing sovereignty also disintegrated, depriving royal power of its heart, its pomp-and-circumstance embodiment. This article argues that more than a practical necessity, the protocol codes in question came to manifest a new political, diplomatic and moral agenda. In fact, what was at stake was nothing less than the re-invention, representation and re-conceptualization of the House of Osman.
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Pub Date : 2021-01-02DOI: 10.1080/14629712.2021.1888451
Gerrit Berenike Heiter
A ustrian dance history has long been the neglected stepchild of dance research. Dance at or in connection with the Imperial Court has not received the same interest as ballet or dance history linked to other courts, the French court in particular. One of the reasons for the neglect of Viennese ballet history is certainly to be found in the musicologists’ focus on the history of the (emerging) Viennese opera in the seventeenth century. For decades, Andrea Sommer-Mathis has been publishing on Habsburg court festivals, contributing precious archivally based research as well as in-depth analysis. One can say without exaggeration that Karin Fenböck is following in Sommer-Mathis’s footsteps with this monograph, her revised doctoral thesis completed in at the Paris Lodron University of Salzburg in dance and theatre studies. Although it might seem as if Fenböck’s work was yet another book published in the aftermath of the tricentennial of Empress Maria Theresa’s anniversary in , it is actually linked to the series ‘Cadences’, inaugurated by musicologist and dance historian Hanna Walsdorf in . Fenböck’s weell-researched study is certainly not only appealing to dance researchers or those interested in ballet history more widely, hr publication is a valuable contribution that lifts the veil from French-Viennese diplomacy of the period through the medium of the cultural politics of the Austrian Court from to . Archival documents, theatre programmes, official reports, reviews and a series of etchings are the major sources on which Fenböck’s analysis of the interplay of the different protagonists at the Viennese Court and the two official theatres — the Theater nächst der Burg and the Kärntnerthortheater — is based. The first two chapters and the last two frame her interrogation concerning the aesthetics and the potential of reform in ballets produced by Franz Anton Hilverding (–) which the Viennese dancing master choreographed for official court festivities, operas and theatre plays. (Court) Ballet at the time was still considered an important medium for the representation of the Viennese Court, although Maria Theresa did not appear on stage herself
长期以来，奥地利舞蹈史一直是舞蹈研究中被忽视的继子。在宫廷或与宫廷有关的舞蹈没有受到与其他宫廷，特别是法国宫廷有关的芭蕾舞或舞蹈历史相同的兴趣。忽视维也纳芭蕾舞史的原因之一当然是音乐学家对17世纪(新兴的)维也纳歌剧历史的关注。几十年来，Andrea Sommer-Mathis一直在发表关于哈布斯堡宫廷节日的文章，贡献了宝贵的基于档案的研究以及深入的分析。可以毫不夸张地说，Karin Fenböck在这本专著中追随了somer - mathis的脚步，她在萨尔茨堡巴黎洛德隆大学(Paris Lodron University of Salzburg)完成的博士论文是在修改后的舞蹈和戏剧研究。虽然看起来Fenböck的作品似乎是在的玛丽亚·特蕾莎皇后诞辰三百周年纪念之后出版的另一本书，但它实际上与由音乐学家和舞蹈历史学家汉娜·沃尔斯多夫在开创的“节奏”系列有关。Fenböck经过充分研究的研究当然不仅吸引了舞蹈研究者或对芭蕾历史感兴趣的人，她的出版是一项有价值的贡献，它通过奥地利宫廷的文化政治媒介，从到揭开了这一时期法国-维也纳外交的面纱。档案文件、戏剧节目、官方报告、评论和一系列蚀刻版画是Fenböck对维也纳法院和两个官方剧院(nächst der Burg剧院和Kärntnerthortheater剧院)不同主角之间相互作用的分析的主要来源。前两章和后两章是她对弗朗茨·安东·希尔维丁(-)创作的芭蕾舞剧的美学和改革潜力的质疑，这些芭蕾舞剧是维也纳舞蹈大师为官方宫廷庆典、歌剧和戏剧设计的。尽管玛丽亚·特蕾莎本人并没有出现在舞台上，但当时芭蕾仍被认为是表现维也纳宫廷的重要媒介
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Pub Date : 2021-01-02DOI: 10.1080/14629712.2021.1888457
Bram van Leuveren
A t first glance, the late seventeenth-century French court of Louis XIV, resplendent with visual and performing arts that glorified the Sun King as sovereign not only of France but of the entire universe, seems to have little in common with the Dutch Republic. Governed by prosperous burghers, the Republic excelled at paintings that meticulously recorded the daily lives of its citizens in mundane settings such as canal houses, city streets, taverns and marketplaces. The documentary-like quality of Netherlandish art surely was a far cry from the customary French depictions of King Louis as the mythological god Apollo. In Crowning Glories, Harriet Stone argues that it was precisely this stark difference between Dutch and French art that captured the imagination of the French elite. She notes that between Louis XIV’s birth in and his death in Netherlandish paintings by artists like Anthony van Dyck (–) and Rembrandt van Rijn (–) abound in royal and private art collections across France (p. ). Mostly drawing on her own close readings of Dutch painting and French court art, Stone proposes the intriguing view that Netherlandish ‘realism’ offered the French bourgeoisie a vision of reality which, through its seemingly unmediated documentation of daily life in the Republic, unintentionally challenged France’s promotion of Louis XIV as Apollonian centre of the universe. However, Stone’s argument that the fascination of Dutch artists with recording the everyday was part of ‘a scientific, empirical approach’, in contrast to the propagandistic nature of King Louis’s art, and that it even paved the way for the Enlightenment in France (p. ), is open to criticism and could have been supported by more historical evidence. The focus of Crowning Glories on the cultural exchanges between late seventeenth-century France and the Dutch Republic is timely and original. Although transnational research on the early modern history of both nations was pioneered in the late s, scholarship on the topic has only recently begun to blossom and is still mostly concerned with the shared diplomatic and political history of France and the Republic in the second half of the sixteenth century.
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Pub Date : 2020-09-01DOI: 10.1080/14629712.2020.1840130
L. Horowski
The court aristocracy of Versailles has been seen as open to relative mésalliances with daughters of the noblesse de robe or nouveau riche financiers. At the same time, status consciousness and court politics guaranteed that many marriages were still concluded within the narrowest élite of dukes and major courtiers. What resulted was a pattern of connubium where status-equal marriages regularly alternated with mésalliances. This article first discusses well-known cases of the intra-familial antipathies allegedly caused by these differences in status and establishes the impossibility of assessing them based on unreliable anecdotal evidence. Instead, it quantifies the likelihood of these status differences based on a prosopographical sample (174 marriages of high-ranking courtiers) and proposes a matrix of status categories. Based on this, we can not only gain a clearer understanding of how frequent (and how extreme) mésalliances really were, but also establish separate patterns of inequality between husbands, wives and their respective mothers-in-law, as well as gender-specific statistics both for the likelihood of encountering a living mother-in-law at all, and for the average length of co-existence between the two generations.
{"title":"Mothers-in-Law between Epée, Robe and Finance: A Quantitative Approach to Patterns of Marriage Inequality within the French Court Elite","authors":"L. Horowski","doi":"10.1080/14629712.2020.1840130","DOIUrl":"https://doi.org/10.1080/14629712.2020.1840130","url":null,"abstract":"The court aristocracy of Versailles has been seen as open to relative mésalliances with daughters of the noblesse de robe or nouveau riche financiers. At the same time, status consciousness and court politics guaranteed that many marriages were still concluded within the narrowest élite of dukes and major courtiers. What resulted was a pattern of connubium where status-equal marriages regularly alternated with mésalliances. This article first discusses well-known cases of the intra-familial antipathies allegedly caused by these differences in status and establishes the impossibility of assessing them based on unreliable anecdotal evidence. Instead, it quantifies the likelihood of these status differences based on a prosopographical sample (174 marriages of high-ranking courtiers) and proposes a matrix of status categories. Based on this, we can not only gain a clearer understanding of how frequent (and how extreme) mésalliances really were, but also establish separate patterns of inequality between husbands, wives and their respective mothers-in-law, as well as gender-specific statistics both for the likelihood of encountering a living mother-in-law at all, and for the average length of co-existence between the two generations.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"25 1","pages":"220 - 256"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14629712.2020.1840130","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47478470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/14629712.2020.1840126
Liesbeth Geevers
After Catherine de Medici became the mother-in-law of Philip II of Spain in 1559, as a result of her daughter Elisabeth of Valois’ marriage to the Spanish king, she set out to augment and multiply the family ties between the Valois and the Habsburgs by negotiating further marriages. These efforts have been ridiculed by her biographers, who accuse her of a naïve faith in marital bonds. In line with more recent French historiography, this article re-evaluates Catherine’s efforts by placing them in the context of other kinship networks, especially the very dense one connecting the royal houses of Portugal and Spain. Seen in this light, it makes perfect sense for the French queen mother to weave an ever more intricate web of marriage alliances herself. It also means that most kinship relations between members of early modern ruling families were multi-layered and being ‘only’ a mother-in-law to a son-in-law was rare, complicating the conceptualisation of this particular role.
1559年，凯瑟琳·德·美第奇（Catherine de Medici）的女儿瓦卢瓦的伊丽莎白（Elisabeth of Valois）与西班牙国王结婚，成为西班牙菲利普二世（Philip II）的岳母后，她开始通过谈判进一步结婚来扩大和扩大瓦卢瓦家族与哈布斯堡家族之间的家庭关系。这些努力遭到了她的传记作者的嘲笑，他们指责她对婚姻纽带的天真信念。根据最近的法国史学，本文将凯瑟琳的努力放在其他亲属关系网络的背景下重新评估，特别是连接葡萄牙和西班牙王室的非常密集的亲属关系网络。从这个角度来看，这位法国太后自己编织一张越来越复杂的婚姻联盟网是完全合理的。这也意味着，现代早期统治家庭成员之间的大多数亲属关系都是多层次的，“只”是女婿的岳母是罕见的，这使这一特定角色的概念化变得复杂。
{"title":"Ties, Triangles and Tangles: Catherine de Medici as Philip II of Spain’s Mother-in-Law","authors":"Liesbeth Geevers","doi":"10.1080/14629712.2020.1840126","DOIUrl":"https://doi.org/10.1080/14629712.2020.1840126","url":null,"abstract":"After Catherine de Medici became the mother-in-law of Philip II of Spain in 1559, as a result of her daughter Elisabeth of Valois’ marriage to the Spanish king, she set out to augment and multiply the family ties between the Valois and the Habsburgs by negotiating further marriages. These efforts have been ridiculed by her biographers, who accuse her of a naïve faith in marital bonds. In line with more recent French historiography, this article re-evaluates Catherine’s efforts by placing them in the context of other kinship networks, especially the very dense one connecting the royal houses of Portugal and Spain. Seen in this light, it makes perfect sense for the French queen mother to weave an ever more intricate web of marriage alliances herself. It also means that most kinship relations between members of early modern ruling families were multi-layered and being ‘only’ a mother-in-law to a son-in-law was rare, complicating the conceptualisation of this particular role.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"25 1","pages":"186 - 200"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14629712.2020.1840126","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42976530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/14629712.2020.1840125
Kolja Lichy
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Pub Date : 2020-09-01DOI: 10.1080/14629712.2020.1840132
F. Schedewie
In pre-modern court settings the ideal mother-in-law was a woman with considerable life experience gained from first getting married and moving to another court, then by becoming a mother herself, before her child or children married and secured the success of the dynasty for the next generation. Departing from these basic considerations, this article examines the case of the Russian Empress Maria Fedorovna, her daughter Maria Pavlovna, and the Duchess Louise of Saxe-Weimar-Eisenach, who became the latter's mother-in-law in 1804. The analysis in particular of personal letters shows that Maria Fedorovna was able to use her skills in her role as mother-in-law, but also that choosing a court — and thus also a complementary belle-mère — to connect with via a marriage alliance could also determine the development of the relationship with one’s own child, and often reflects larger political developments.
{"title":"Dynastical Asymmetries: Maria Fedorovna of Russia and Louise of Saxe-Weimar-Eisenach","authors":"F. Schedewie","doi":"10.1080/14629712.2020.1840132","DOIUrl":"https://doi.org/10.1080/14629712.2020.1840132","url":null,"abstract":"In pre-modern court settings the ideal mother-in-law was a woman with considerable life experience gained from first getting married and moving to another court, then by becoming a mother herself, before her child or children married and secured the success of the dynasty for the next generation. Departing from these basic considerations, this article examines the case of the Russian Empress Maria Fedorovna, her daughter Maria Pavlovna, and the Duchess Louise of Saxe-Weimar-Eisenach, who became the latter's mother-in-law in 1804. The analysis in particular of personal letters shows that Maria Fedorovna was able to use her skills in her role as mother-in-law, but also that choosing a court — and thus also a complementary belle-mère — to connect with via a marriage alliance could also determine the development of the relationship with one’s own child, and often reflects larger political developments.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"25 1","pages":"257 - 273"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14629712.2020.1840132","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47644214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/14629712.2020.1840127
Oliver Hegedüs
Maria Anna of Inner Austria became the mother-in-law of King Sigismund III of Poland-Lithuania (1566–1632) twice due to the marriages of her two daughters, Anna and Constance. This role placed Maria Anna in a position between the dynasties of the House of Wittelsbach (into which she was born), the House of Habsburg (into which she married) and the House of Vasa (into which her daughters married), thus giving her a prominent, albeit informal, position in the structure of early modern foreign relations. Maria Anna had multiple loyalties that she could use depending on the situation. Hostilities that arose on the basis that she was too Bavarian or too Austrian demonstrate that the changing loyalties of the Archduchess between the dynasties were being discussed at the time. Ultimately, the mother-in-law played an important role in the mediation of further kinship relations, serving as an important link between several dynasties.
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Pub Date : 2020-05-03DOI: 10.1080/14629712.2020.1777719
Nicholas Grindle
This article argues that the least studied and understood of the works that Rubens painted at Charles I’s court, Landscape with St George and the Dragon (1629–30), is in fact the most important for understanding Charles’s strategies for representation during the period of his personal rule. The article shows that the painting identifies St George as the original and the King as his exact image. In this way, the article suggests, Rubens endorsed Charles’s anti-Calvinist policies, especially his reform of the Order of the Garter. The article also shows how Rubens’s painting took from masques both the license to represent the King as someone else, as well as a new narrative structure that figured Charles as the herald of peace. It concludes by suggesting that Rubens’s painting reinvigorated court masque performances in the early years of Charles’s personal rule.
{"title":"Rubens’s Landscape with St George and the Dragon: Relating Images to their Originals and Changing the Meaning of Representation at the Court of Charles I","authors":"Nicholas Grindle","doi":"10.1080/14629712.2020.1777719","DOIUrl":"https://doi.org/10.1080/14629712.2020.1777719","url":null,"abstract":"This article argues that the least studied and understood of the works that Rubens painted at Charles I’s court, Landscape with St George and the Dragon (1629–30), is in fact the most important for understanding Charles’s strategies for representation during the period of his personal rule. The article shows that the painting identifies St George as the original and the King as his exact image. In this way, the article suggests, Rubens endorsed Charles’s anti-Calvinist policies, especially his reform of the Order of the Garter. The article also shows how Rubens’s painting took from masques both the license to represent the King as someone else, as well as a new narrative structure that figured Charles as the herald of peace. It concludes by suggesting that Rubens’s painting reinvigorated court masque performances in the early years of Charles’s personal rule.","PeriodicalId":37034,"journal":{"name":"Court Historian","volume":"25 1","pages":"142 - 157"},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14629712.2020.1777719","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42817664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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