No description available.

Thomas Carlyle’s History of Friedrich II. of Prussia, called Frederick the Great was published in six volumes between 1858 and 1865 and was his last major work. Carlyle had a specific purpose in mind when he began writing Frederick. He believed that contemporary events had left Europe in disarray and the British nation fragmented. In his view, the nation needed to function as a family unit, with the older, more experienced members of the group instructing and educating the young. Carlyle’s attempt to address the situation with the publication of his Latter-Day Pamphlets in 1850 had failed, largely due to their aggressive tone. He adopted an entirely different approach when it came to writing Frederick. Chapter one explores Carlyle’s vacillation over his choice of Frederick as a suitable subject for his history and investigates his soul-searching over whether or not to proceed with the project. It examines the three-way relationship which Carlyle created between himself, Frederick and the reader and explores the various language techniques that Carlyle used to create and maintain this relationship. In chapter two, Carlyle’s style of writing in Frederick is investigated. It argues that Carlyle was engaged in the act of storytelling and explores the various literary techniques that he used to achieve this. Chapter three consists of an in-depth examination of Carlyle’s use of oral techniques in Frederick, investigating the variety of oral devices he employed in order to ‘speak’ to his readers and create a unified readership. Chapters four and five focus on Carlyle’s research methods. They examine the texts which Carlyle used for his research—original manuscripts, printed texts, letters, histories and biographies—investigating how these were incorporated into Frederick and evaluating whether or not Carlyle was true to his source material. Carlyle’s two trips to Germany in order to research material are also investigated. In Chapters six and seven, the contemporary reception of Frederick is explored. Chapter six focuses on the reaction to the first two volumes which were published together in 1858, whilst chapter seven investigates the response to the later volumes, exploring the ways in which the completed work influenced the public’s perception of Carlyle as a historian and ending by examining both Carlyle’s and Frederick’s places in posterity. Despite Carlyle’s labours on Frederick it never received the acclaim of his earlier productions but was regarded by many as a marker which signalled the end of Carlyle’s long and illustrious literary career.

No description available.

The main aim of this diploma thesis is to describe and explain a position of the king under the Constitutions of Melfi, issued by Holy Roman Emperor and King of Sicily Frederick II. of Hohenstaufen. Constitutions were issued in south Italian city Melfi in 1231 and till today it is one of the most important medieval legal monuments. Despite it's significance and connection with another Holy Roman Emperor and Czech king Charles IV. it has never been properly reflected in Czech legal history. Constitution of Melfi were valid and partially effective in the Kingdom of Sicily till 19. century. At the beginning of text, there is held a brief historical introduction into times of Hohenstaufen and life of the Emperor Frederick. Southern Italy was strongly influenced by Norman, Arabic and Byzantine impacts, reflected later in the Constitutions. Another point of the thesis is to describe the process of creation the legal text, involving influences of Roman, Byzantine or Norman law. There are also introduced glossators of Emperor's court, with their leader Petrus de Vinea, who is supposed to be the main author of Constitutions. But the main aim of thesis, above mentioned, is to describe and explain the regulations concerning position of the king and his powers, relating even the theology and philosophy of that...

La thèse propose une nouvelle édition critique du corpus lyrique du troubadour Guilhem Figueira (BdT 217), originaire de Toulouse mais actif principalement en Italie du Nord dans la première moitié du XIIIe siècle. Poète représentatif du climat historique et culturel toulousain à l’époque de la croisade contre les Albigeois, protagoniste de la diaspora de poètes et intellectuels et membre d’un cercle idéal de troubadours frédériciens, Figueira nous a laissé une chanson d’amour, deux sirventes contre la papauté de Rome et les faux clergés, deux sirventes pour Frédéric II et deux chansons de croisade. Il échangea aussi deux coblas et une tenson avec Aimeric de Peguilhan (BdT 10). Par rapport à l’édition de référence (Emil Levy, 1880) on a inclus une cobla esparsa anonyme contre Sordel (BdT 437) conservé dans le chansonnier P ; par contre, on a décidé de ne pas accueillir les deux pièces qui lui sont attribuées par le chansonnier a2. On a fourni une étude de la tradition manuscrite, qui compte aujourd’hui cinq nouveaux témoins, avec une mise à jour de la bibliographie ; une étude des thèmes, de la métrique et de la langue de Figueira, une traduction des pièces en italien et un commentaire ponctuel des textes ; un glossaire complet et deux annexes (l’édition du sirventes BdT 217.4a qu’on n’a pas jugé authentique mais qui sert pour l’interprétation d’une autre poésie et les premiers résultats d’une recherche sur Emil Levy éditeur de troubadours, avec l’édition de neuf lettres qu’il envoya à Ernesto Monaci entre 1879 et 1887 et que nous avons trouvé à Rome). / The thesis proposes a new critical edition of the lyric production by Guilhem Figueira (BdT 217), who was born in Toulouse and active during the first half of the XIIIth century, mainly in Northern Italy. Figueira’s corpus is representative of the historical and cultural climate in Toulouse during the Albigensian crusade; he was himself a protagonist of the diaspora of poets and intellectuals and a member of an ideal circle of Friderician troubadours. He left a love song, two sirventes against the papacy and the false clergy, two sirventes for Frederic II and two crusade songs. He also exchanged two coblas and one tenson with Aimeric de Peguilhan (BdT 10). In comparison with the critical edition by Emil Levy (1880), we have included an anonymous cobla esparsa against Sordel (BdT 437), preserved by the chansonnier P; on the other hand, we have decided not to accept two other poems assigned to him by a2. The thesis opens with a study of the tradition, which today includes five new witnesses, with an update of the bibliography; we have provided a study of themes, metric and language of Figueira, an Italian translation and a punctual commentary of the poems; a complete glossary and two appendices (the edition of sirventes BdT 217.4a, which we considered inauthentic but helpful to the correct interpretation of another poem; and the first results of a research on Emil Levy editor of troubadours, with the edition of nine letters he sent to Ernesto Monaci between 1879 and 1887 that we have found in Rome).

Dans le Royaume de Sicile, le patronage religieux entrepris par les femmes des dynasties normande et Hohenstaufen sous-tend la question de l'affirmation de l'individu dans la société médiévale. Comme dans les représentations iconographiques des reines et des princesses, ces actions mettent l'accent plus sur le pouvoir de la dame aristocratique que sur son appartenance au genre féminin. Mais le patronage féminin est aussi lié à la question de la mémoire du lignage; l'individu se définissant par rapport à un groupe formé de morts et de vivants, la commémoration des ancêtres disparus participe aussi à la création d'un mémoire aristocratique véhiculée par les femmes. / In the Realm of Sicily, the religious patronage begun by the women of the dynasties Norman and Hohenstaufen underlies the question of the assertion of the individual in the medieval society. As in the iconographic representations of the queens and the princesses, these actions emphasize more the power of the aristocratic lady than her membership in the feminine genre.But the feminine patronage is also connected to the question of the memory of the nobility; the individual defining itself with regard to a group formed by deaths and by alive, the remembrance of the disappeared ancestors also participates in the creation of an aristocratic report conveyed by the women.

Dans le Royaume de Sicile, le patronage religieux entrepris par les femmes des dynasties normande et Hohenstaufen sous-tend la question de l'affirmation de l'individu dans la société médiévale. Comme dans les représentations iconographiques des reines et des princesses, ces actions mettent l'accent plus sur le pouvoir de la dame aristocratique que sur son appartenance au genre féminin. Mais le patronage féminin est aussi lié à la question de la mémoire du lignage; l'individu se définissant par rapport à un groupe formé de morts et de vivants, la commémoration des ancêtres disparus participe aussi à la création d'un mémoire aristocratique véhiculée par les femmes. / In the Realm of Sicily, the religious patronage begun by the women of the dynasties Norman and Hohenstaufen underlies the question of the assertion of the individual in the medieval society. As in the iconographic representations of the queens and the princesses, these actions emphasize more the power of the aristocratic lady than her membership in the feminine genre.But the feminine patronage is also connected to the question of the memory of the nobility; the individual defining itself with regard to a group formed by deaths and by alive, the remembrance of the disappeared ancestors also participates in the creation of an aristocratic report conveyed by the women.