The work is focused on the fate of Irish emigration to Central Europe (the Habsburg monarchy) during the 16th and 17th centuries and its subsequent fate in this region. Particular attention is paid to the family of the Counts Taaffe, who especially in the 19th century significantly influenced politics in the Austrian Empire. Irish emigration in the 17th and 18th century can be divided into three major waves. The first hit after the defeat of Ireland Ulster insurgents in Kinsale. Local elites were not willing to accept a subordinate position and four years after the signing of. Mellifontské contract went 30 September 1607 more than ninety Ulstr for the most important nobles in exile. This "escape poke" had far-reaching consequences for Ireland and has contributed greatly to the realization of England's plans. The second and most extensive emigration met Ireland after the Armistice in Kilkeny in May 1652, ie during the era of Oliver Cromwel. The third wave of emigration then caused the victory of William of Orange over James II. in the battle of the Boyne in 1690 and Aughrimu the 1691. Most Irish emigrants resorted to the Catholic powers, particularly Spain, France and Austria. They can be roughly divided into three groups. First it was the Catholic priests, mainly members of the Franciscan order....

Resume Status of the emperor according to the Austrian constitutions The purpose of this thesis is to analyze the position which belonged to the head of the Habsburg Monarchy according to the Austrian Constitutions from the second half of the 19th century. The revolutionary years 1848-1849 caused changes in the constitutional system of the monarchy. These changes were also reflected at the level of head of state. The emperor was no longer to be sole representative of state power, but he had to participate in it together with the parliament and the government. When examining these changes, it is necessary to differentiate the formal position of Emperor, which belonged to him under the Constitutions and his factual position. Realistically, the emperor maintained until the collapse of the monarchy considerable influence on the exercise of state power. The work explores the following constitutions: Pillersdorf (April) constitution of 1848, Kremsier constitution of 1849, Stadion (March) constitution of 1849, Schmerling (February) constitution of 1861 and Beust (December) constitution of 1867. The work is divided into six chapters. The first chapter describes constitutional and political development of the Habsburg monarchy since revolution in 1848 until the release of the December constitution in 1867 and it...

O presente estudo tem por objetivo avaliar o alcance das medidas reformadoras do bispo D. Antônio Joaquim de Melo em relação à moralização do clero paulista, entre os anos 1850 e 1875. Para tanto, empregou-se como objeto de análise os crimes cometidos por eclesiásticos e discursos dos presidentes de província pertinentes à esfera em foco. Dado que, no período abarcado pela pesquisa, vigorava o regime do padroado, a Igreja católica integrava a vida da sociedade em aspectos além dos puramente religiosos, assim, parte-se do pressuposto de que a moralização dos eclesiásticos era um dos grandes anseios das elites paulistas. Com isso, estabelece-se um panorama em que as transformações econômicas advindas do crescimento da produção do café e, consequentemente, de práticas econômicas de feições capitalistas são motivações políticas para o recrudescimento de posturas públicas mais austeras em relação aos costumes e à moralidade da sociedade paulista. / The present study aims to assess the extent of the reform measures of the Bishop Antônio Joaquim de Melo in relation to the moralization of the clergy São Paulo between the years 1850 and 1875. For this purpose, we used as the object of analysis the crimes committed by priests and speeches of Presidents of the Province pertaining to the ecclesiastical sphere. Since the period covered by the survey in force the regime of Padroado, the Catholic Church was part of the life of society inaddition to the purely religious aspects. It starts with the assumption that the moralization of the church was one of the major concerns of the São Paulo elite. This sets up a picture in which the economic changes resulting from the growth of coffee production, and consequently the features of capitalist economic practices are political motivations behind the upsurge of public positions in relation to stricter customs and morality of São Paulos society.

Partindo da existência de uma fidalguia coletiva na região basca de Biscaia, ratificada juridicamente pela monarquia de Carlos V (1527) através da aprovação do conjunto de leis conhecido como Foro Novo, nos perguntamos: como esse fenômeno produziu-se? Quais os agenciamentos discursivos envolvidos em sua emergência? Sendo assim, recorremos a um estudo genealógico não-linear que abrangesse tal processo. Para tanto, utilizamos séries documentais tocantes à sociedade biscainha a partir século XV - especialmente - por meio das quais verificamos a passagem de uma sociedade assimétrica (regulamentada pelo Foro Velho - 1452) para a constituição fidalga em nível territorial. Além disso, não tomamos a fidalguia biscainha como um estatuto petrificado, mas nos preocupamos em analisar seu uso, funcionamento, articulações e produções de saber até inícios do século XVII no contexto monárquico. / Starting by the existence of a collective nobility in the Basque region of Biscay, juridically confirmed by the emperor Carlos V (1527) through the approval of a set of laws known as Fuero Nuevo, we have inquired: How this phenomenon was produced? Which agencies were used for its emergency? In this sense, we have resorted to a non-linear genealogical study, which comprehends that process. To do that, it has been selected documents related to the Biscayan society from the 15th century principally - through which it was verified the transformation from an asymmetric society (regulated by the Fuero Viejo 1452) to the noble constitution in this territoriality. Besides that, we do not understand the Biscayan nobility as a petrified statute, so we were concerned in analyzing its use, operation, articulations and knowledge productions until the beginning of 17th century in the monarchical context.

Esta dissertação se propõe a analisar o significado político da concessão de títulos de nobreza no Brasil, de 1808 a 1840, compreendendo, portanto, tanto o período em que o Brasil fazia parte do império português, quanto o Primeiro Reinado e o Período Regencial. Dá-se especial ênfase à estratégia política que norteou as concessões de títulos por d. João e d. Pedro I, incluindo os critérios utilizados por cada um dos monarcas, as características dos títulos concedidos, bem como as pessoas que foram nobilitadas em cada um dos reinados. Desta forma, busca-se evidenciar os diferentes critérios que nortearam as concessões feitas por pai e filho, respondendo, por um lado, a expectativas distintas por parte dos agraciados, e, por outro, a diferentes conjunturas políticas que demandavam a construção de redes de apoio ao monarca em momentos muito específicos. Finalmente, se, de fato, a nobreza se manteve por todo o Império brasileiro, sua permanência, bem como a continuidade, ou não, de outras práticas e instituições até então usuais e a ela direta ou indiretamente vinculadas (algumas delas claramente heranças de Antigo Regime), foram intensamente debatidas durante o Período Regencial. Assim, depois das reformas efetuadas após a abdicação, quando da ascensão do segundo monarca, os títulos continuaram a ser distribuídos, mas, doravante, seguindo expressamente o espírito da Constituição. / This thesis intends to analyze the political meaning of the concession of nobility titles in Brazil, from 1808 to 1840, comprising, thus, both the period during which Brazil was part of the Portuguese Empire as well as the First Reign and the Regency Period. Special emphasis is given to the political strategy that informed the concession of titles by d. João and d. Pedro I, including the criteria employed by each monarch, the characteristics of the titles conceded, as well as the people who were ennobled in each of the reigns. Thereby, the different criteria, which guided the concessions made by father and son, are carefully dealt with, responding, on one hand, to distinct expectations by those bestowed with a title and, on the other hand, to different political situations which demanded the formation of alliances in order to support the monarch in very specific moments. Ultimately, if, in fact, there was a nobility throughout the whole Brazilian Empire, its endurance, as well as the continuity or discontinuity of other customary practices and institutions directly (or indirectly) related to the nobility (some of which were clearly heritages of the Ancien Regime) were fiercely questioned and discussed during the Regency Period. Therefore, following the reforms made after the abdication, upon the rise of the second monarch, the titles kept being distributed, though, hereafter, according explicitly to the spirit of the Constitution.

Entre os anos de 1808 e 1831, a cidade do Rio de Janeiro tornou-se um dos mais fecundos centros operísticos das Américas. Não o fora por acaso. Na primeira década do século XIX, o Teatro de São Carlos, de Lisboa, ainda era tido na Europa como a melhor ópera italiana além dos limites da Itália, e todo o fino cultivo do drama cantado italiano, desenvolvido desde o reinado de Dom João V, se transferiu, em parte, para a então capital do Estado do Brasil, quando a família real portuguesa e membros de sua corte ali se instalaram. Além de importantes autores e executantes europeus, o Rio passou a dispor, em poucos anos, de uma grande casa de ópera, comparada às melhores do Antigo Continente, e nesses pouco mais de vinte anos, cerca de quarenta títulos de óperas diferentes foram ali estreadas, fora as centenas de repetições. Além de ópera, podia-se também ouvir, no Rio desse mesmo período, excelente música sacra na Capela Real, depois Imperial. Para Manuel de Araújo Porto Alegre, esse gênero, \"que encantava os estrangeiros em Roma, era executado com a mesma perfeição, durante a Semana Santa, no Rio de Janeiro\", elogio, diga-se de passagem, endossado pela maior parte dos europeus que tiveram a oportunidade de ouvir tal conjunto musical, como Debret, Freycinet, Graham, Caldcleugh. Tal cultivo excelente da música sacra devia-se, em parte, à existência, ali, de exímios músicos nativos, como José Maurício Nunes Garcia e Pedro Teixeira de Seixas, mas, também, graças ao esforço de Dom João em fazer vir de Portugal, desde a sua chegada, muitos dos músicos que formaram, durante o reinado de Dona Maria I, \"a primeira Capela da Europa, superior inclusive à do Vaticano\", como testemunhou o viajante inglês William Beckford, em 1787. Por outro lado, entre setembro de 1831 e janeiro de 1844, surpreende notar que nenhum espetáculo de ópera completa tenha sido estreado ou sequer encenado no Rio de Janeiro. Como se não bastasse, cerca de dois meses após a abdicação de Dom Pedro I, o governo regencial fez cumprir, com extremo rigor, o orçamento imperial de 1831-1832, praticamente extinguindo a orquestra da Capela Imperial e reduzindo o número de músicos, que chegou a cerca de setenta na época de Dom Pedro I, a menos de trinta integrantes. A reorganização dessa orquestra somente iria ocorrer em maio de 1843, já em pleno segundo reinado. Nenhuma dúvida paira quanto ao fato de que essa depressão musical repentina e ao mesmo tempo duradoura dos anos 1831-1843 tenha uma íntima relação com o interregno de 1831-1840. Porém, nenhum estudo histórico ou musicológico foi realizado até hoje buscando, em meio a eventos de diversas naturezas - social, política e econômica -, estabelecer, com precisão, que fatores mais teriam contribuído para esse fulminante declínio da ópera e da música sacra na capital do Império, em 1831. Igualmente, jamais se explicou por que razão tantos anos, incluindo-se alguns já do segundo reinado, foram necessários para que o Rio de Janeiro voltasse a ter uma atividade musical similar à que tinha antes da partida de Dom Pedro I. Diante disso, procuraremos - acompanhando os moldes de alguns importantes estudos internacionais, os quais, paulatinamente, têm contribuído para a edificação de uma história mais geral da música - abrir não apenas um amplo leque de causas diretas dessa derrocada, como demonstrar que essa parte mais importante da atividade musical no Rio de Janeiro - a produção de te-déuns e óperas - esteve, até então - e desde muito antes do que se imaginava, ainda nos tempos dos Governadores e Vice-Reis -, assim como em Lisboa e em outras capitais européias, intimamente ligada ao simbolismo da figura do soberano, ao status do artifício maravilhoso e sagrado do poder real. E, daí, propor que a fundamental causa da decadência dos dois mais importantes organismos musicais do Rio de Janeiro durante os anos 1831-1843 tenha sido o concomitante enfraquecimento, após a partida de Dom Pedro I, dessa antiga expressão simbólica da monarquia, um ritual de manutenção de um poder real que se efetivava na atividade social de corte, prática recuperada, em parte, entre 1840 e 1841, com a Maioridade e a Coroação, e, cabalmente, em 1843, com o imperial consórcio. / In the years between 1808 and 1831, the city of Rio de Janeiro became one of the most active operatic centers in America. This had not been by chance. In the first decade of the 19th century, the São Carlos Theatre, in Lisbon, was still considered the best Italian opera house in Europe, outside Italy, and all the intense cultivation of the Italian lyric drama, developed since the reign of Dom João V, was, in part, transferred to the capital of the State of Brazil at that time, when the Portuguese royal family, together with members of the court, settled down there. Within a few years, besides important European composers and performers, Rio already had a great opera house which could be compared to the best ones in Europe, and during little more than those twenty years, nearly forty different opera titles were first performed there, not to mention hundreds of repetitions. In the same period, besides opera, it was also possible to listen to excellent sacred music in the Royal Chapel, called Imperial later on. According to Manuel de Araújo Porto Alegre, that kind of music \"which enchanted foreigners in Rome was equally played with the same perfection during the Holy Week in Rio de Janeiro\", a praise, in passing, supported by most of the Europeans who had the opportunity of listening to such a musical ensemble, as Debret, Freycinet, Graham, Caldcleugh and many others. Such an excellent cultivation of sacred music was due not only to the existence, there, of extraordinary native musicians, as José Maurício Nunes Garcia and Pedro Teixeira de Seixas, but also to the effort made by Dom João since his arrival, to fetch from Portugal several of the musicians who, during the reign of Dona Maria I, had formed \"the fist Chapel of Europe, superior to that one in the State of Vatican\", as the English traveller, William Beckford, had testified in 1787. On the other hand, it is a surprise to notice that, between September 1831 and January 1844, no complete opera had been first performed or even staged in Rio de Janeiro. Moreover, about two months after the abdication of Dom Pedro I, the regent government carried out the imperial budget of 1831- 1832 with extreme severity, practically extinguishing the Imperial Chapel Orchestra and reducing the number of musicians that had almost reached seventy, during the time of Dom Pedro I, to less than thirty. The reorganization of that orchestra would only occur on May 1843, in the second reign already. There is no doubt about the fact of that sudden and, at the same time, lasting musical depression of the years 1831-1843 has had a close relationship with the interregnum of 1831-1840. But no historical or musicological research has been accomplished so far, trying, among events of different nature - social, politic, economic -, to establish precisely which other causes had contributed to the extreme decline of opera and sacred music in the capital of the Empire in 1831. Likewise, it has never been explained why so many years, including some in the second reign, were necessary for Rio de Janeiro to have again a musical activity similar to that one before the departure of Dom Pedro I. Thinking of that - following the patterns of some important international researches that have slowly contributed to the edification of a more general history of the music - , we\'ll try not only to open a huge set of direct causes of such a destruction, but also to demonstrate that those most important musical activities in Rio de Janeiro - to produce Te Deum and opera - were since then - and since long before it could be imagined, still in the time of the Governors and Viceroys -, so as in Lisbon and other European capitals, closely connected to the symbolism of the image of the sovereign, to the status of the marvelous and sacred artifice of the royal power. And, from that, to propose that the chief cause of the decline of the two principal musical organisms of Rio de Janeiro, during the years 1831- 1843, had been the concomitant debility, after the departure of Dom Pedro I, of that old symbolic expression of monarchy, a ritual to maintain a royal power which became effective in the social activity of the court, custom recovered, in part, between 1840 and 1841, with the Majority and Coronation of Dom Pedro II, and finally completed with the imperial marriage, in 1843.

Depuis plus d’un siècle, le règne de Jayavarman VII ne cesse de fasciner les chercheurs par son indéniable originalité. Premier roi ouvertement bouddhiste, sa puissance politique et militaire s’accompagne aussi d’une profonde mutation des idées et d’une créativité artistique bouillonnante qui confère une dimension hors du commun à son époque. Au rythme des découvertes qui s’accumulent et constituent un matériau archéologique d’une ampleur inégalée, les publications se multiplient, mais elles demeurent souvent spéculatives, échafaudées sur des hypothèses d’écoles qui, faute d’être contestées, se transforment en dogmes, adoptés et répétés au fil du temps, pour finalement donner l’impression inexacte que ce règne est parfaitement connu. C’est ce constat qui nous a amené à aborder l’étude du règne de Jayavarman VII sous des approches différentes, à partir d’une analyse de son historiographie axée sur une exégèse critique des publications. Cette thèse se fonde sur l’étude des matériaux archéologiques, attribués, en quantités considérables, au règne de Jayavarman VII, et appréhendés comme les éléments d’un système relevant d’un même déterminisme, celui de l’organisation de l’espace par l’autorité royale. Cette approche permet de mettre en lumière les principes directeurs de l’aménagement du territoire qui reflètent des impératifs dictés par la gestion administrative et sociale d’un pays, mais peuvent également satisfaire à d’autres exigences telles que le respect d’un modèle cosmico-religieux, les orientations personnelles du souverain ou encore le facteur économique. Derrière le souverain khmer et bouddhiste, Jayavarman VII, deus ex machina de son royaume, instigateur et catalyseur de toute politique, c’est le bouddhisme qui se révèle être le véritable inspirateur de ses actes, permettant de mieux comprendre certains des aspects atypiques de son règne, qu’il s’agisse de l’exercice du pouvoir ou de la composition architecturale des grands monuments. / For more than a century, the reign of Jayavarman VII hasn't ceased to fascinate researchers by its irrefutable originality. First king openly Buddhist, his political and military power was also accompanied by a profound change in the ideas and by an exciting artistic creativity ensuring an extraordinary dimension to his era. Following the progress of the discoveries as they build up and represent an archeological material of unprecedented scale, publications multiply, but they remain often speculative, based upon theories, that as they stay unchallenged, consolidate and transform into dogmas, adopted and repeated over time, finally giving the wrong impression this reign is perfectly well known. This observation brought us to address this reign under a different angle, after retracing the historiography focused on a critical exegesis of the publications. This thesis is based upon the study of archeological material, all attributed to the reign of Jayavarman VII and treated as the items of a system following the same determinism, the organization of space by the royal authority. This approach has high lightened the guidelines of the land use planning that reflect the needs of the administrative and social management of a country, but also other requirements such as the respect of a cosmic religious concept, the king's personal preferences or the economic factor. Behind Jayavarman VII, who appears as the “Deus ex machina” of his kingdom, the initiator and catalyst of all policy, it is Buddhism that proves to be the real inspiration of his actions and leads us to understand better certain atypical aspects of his reign, regarding the exercise of power or the architectural composition of the great monuments.

This study examines the systemic function and public role of "Sailor Princes" within the context of the nineteenth-century revival of monarchy. It explores how, between 1850 and 1914, the reigning families of Britain, Denmark, Germany and Greece chose to educate their younger sons in the navy and thereby created powerful links with a mythically invested symbol of national identity and modernity, of bourgeois virtue, imperial integration and exotic adventure. All four countries perceived themselves as maritime powers defined by their long seafaring traditions and/or great hopes for a naval future, by their possession of (in)formal seaborne colonial empires and/or by their substantial imperial ambitions. By latching onto the prominent trend of the nineteenth-century lure of the sea and of naval enthusiasm, the dynasties of Saxe-Coburg, Glücksborg and Hohenzollern were able to adapt these mental geographies for their own purposes and thus to generate an appealing brand image for the emerging political mass market. Prince Alfred of Britain (1844-1900), Prince Heinrich of Prussia (1862-1929), Prince Valdemar of Denmark (1858-1939) and Prince Georgios of Greece (1869-1957) all became powerful personality brands of their respective monarchies. This study investigates the mechanisms and the agents responsible for their success. It examines the role of the sea and of maritime imageries in nineteenth-century national identities; the myths and realities of naval education and naval professionalism; the processes by which seaborne colonial empires and diaspora communities were integrated into larger imperial units and represented to each other via interimperial diplomacy; as well as the public reception, appropriation and recreation of the "Sailor Prince" brand in various popular media, e.g. family magazines, adventure fiction and consumer goods.

A traição é um tema que temos estudado já faz algum tempo, utilizando como fontes as Canções de Gesta, um gênero literário poético corrente nas regiões que compunham o reino da França, entre o século XI e o século XV. O período áureo dessa poesia coincidiu com o governo da dinastia conhecida como dos Capetos diretos, cujo reinado e sucessão de pai para filho persistiu sem interrupção de 987 até 1328. Criadas e difundidas nos diversos senhorios territoriais da França, em especial no norte do reino, as Canções de Gesta tratavam em seus enredos de vários problemas de ordem moral e política vigentes na época. Em uma sociedade cuja coesão, ao menos na sua camada governante, era baseada na fidelidade e na criação de laços vassálicos, a traição constituía uma grave ameaça à estabilidade e à paz. Tanto a moral cristã quanto a moral cavaleiresca condenavam quem a praticasse, mas isso não evitou a sua constante ocorrência. Estudamos cinco poemas épicos: a Chanson de Roland (c. 1100), o Girart de Vienne (1180-1185), o Renaut de Montauban (início do século XIII), o Gaydon (1230- 1240) e o Jehan de Lançon (metade do século XIII). O Roland, sendo o mais antigo desses poemas, apresenta um monarca respeitado e difere dos poemas posteriores, cujos enredos valorizam os personagens conhecidos desde o século XIX como Vassalos Rebeldes. Da análise da traição nessa poesia e da relação entre vassalos e o rei pudemos extrair alguns pontos importantes. De início o ligado à questão vocabular, pois traïson / traïtre / traïr designam um dos mais graves crimes ali descritos, graças a sua ligação com a tradição neotestamentária da entrega de Jesus por Judas Iscariotis, suplantando outros termos de origem latina ou não (proditio, felonie). Nas Canções, a traição é dirigida primeiramente contra os barões e cavaleiros sendo os seus executores da mesma condição social de suas vítimas. Só tardiamente ela denomina um atentado contra o monarca. Outro ponto é a defesa, nos poemas, do direito à guerra ao senhor caso este não cumprisse suas obrigações de justiça para com seu vassalo. Assim, os heróis em luta contra Carlos Magno não eram mostrados pelo poeta como traidores e sim como vítimas de uma perseguição. Esses cavaleiros conservavam o respeito pelo seu senhor e aspiravam ser perdoados e reintegrados à corte régia. A responsabilidade pelas traições era direcionada para uma linhagem específica, a de Ganelon, responsável pelo desastre de Roncesvales na Chanson de Roland. Mas se aqui a traição fora um crime individual, desde fim do século XII há um trabalho de readaptação no qual o fato de se pertencer a essa família já tornava o personagem passível de ser um traidor. As suas traições podiam ir da falsa acusação até ao envenenamento de outros personagens. A prova da traição se dava frequentemente através do duelo judicial e os culpados, além de condenados à morte, podiam ter os corpos destruídos para evitar a ressurreição no final dos tempos. / Treason is a theme that we have been studying for some time, using as sources the Songs of Geste, a poetic genre current in the regions that made up the Frances kingdom, between the eleventh and the fifteenth centuries. That poetrys golden period coincided as the dynasty of government known as the \"direct Capetian\" which reign and father to son succession persisted without interruption from 987 to 1328. Created and disseminated in the various Frances territorial manorials, especially in the northern kingdom, the Songs of Geste treated in their plots of various problems of moral and political force at that time. In a society whose cohesion, at least in its ruling layer, was based on loyalty and creating vassalian ties, treason constituted a serious threat to stability and peace. Both Christian morality as the moral chivalry condemned those who practiced it, but that did not stop their constant occurrence. We studied five epic poems: the Chanson de Roland (C1100), the Girart de Vienne (1180-1185), the Renaut de Montauban (early thirteenth century), the Gaydon (1230-1240) and Jehan de Lançon (half of the century XIII). Roland, is the oldest of those poems, has a respected monarch, and differs from the later poems whose plots value the characters known since the nineteenth century as \"Vassals Rebels\". From the analysis of treason in this poetry and the relationship between vassals and the king, we could draw some important points. Initially the connected to the vocabulary question because traïson / traître / traïr designate one of the most serious crimes described there, thanks to its connection with the neo testamentary tradition of Jesus delivery by Judas Iscariot, supplanting other terms Latin or not (proditio, felonie). In Chansons, the treason is primarily directed against the barons and knights and the executors are of the same social condition of their victims. Only belatedly it calls an attack against the monarch. Another point is the defense, in the poems, from the right to the war to the lord if he does not achieve his justices obligations to his vassal. Thus, the heroes in the fight against Charlemagne were not shown by the poet as traitors but as victims of persecution. Those knights keep respect for their master and aspire to be forgiven and reintegrated to the royal court. Responsibility for treason is directed to a specific lineage, that of Ganelon, responsible for Roncesvales disaster in the Chanson de Roland. But if here the treason was an individual crime, since the end of the twelfth century there is a readjustment work in which the fact of belonging to that family already makes the character capable of being a traitor. Their treasons can go from false accusation to the poisoning of other characters. The proof of treason is often done through the judicial duel and the guilty, beyond sentenced to death, they might have their bodies destroyed to prevent the resurrection at the end of time.

Made available in DSpace on 2016-04-29T14:27:24Z (GMT). No. of bitstreams: 1 Carlos Antonio da Silva.pdf: 2397964 bytes, checksum: 8fddc46242daaecef1323e86e6001605 (MD5) Previous issue date: 2013-11-18 / Conforms the catholic doctrine, the bishop of the Church of Rome, as the successor of Peter, occupies a position of authority and final responsibility in the universal Church. This responsibility received dogmatic confirmation in the constitution Pastor aeternus of Vatican Council II. The terms used in Vatican Council II favored the understanding of craft primatial second the model of monarchy absolute, which became the current interpretation in the Catholic Church. However, the advance of the theology, the Vatican Council II and the ecumenical commitment of the Church brought elements difficult to reconcile with this understanding. This works intends, through analysis of the conciliar text and its sources, define if the understanding of the primacy as absolute monarchy is necessary, or if the dogma of Vatican I can be understood in another way. / Conforme a doutrina católica, o bispo da Igreja de Roma, como sucessor de Pedro, ocupa uma posição de autoridade e responsabilidade final na Igreja universal. Esta autoridade recebeu confirmação dogmática na constituição Pastor aeternus do Concílio Vaticano I. Os termos usados no Concílio favoreceram a compreensão do ofício primacial segundo o modelo da monarquia absoluta, que se tornou a interpretação corrente na Igreja Católica. Porém, o avanço da teologia, o Concílio Vaticano II e o empenho ecumênico da Igreja trouxeram elementos dificilmente conciliáveis com essa compreensão. O presente trabalho pretende, através da análise do texto conciliar e de suas fontes, definir se a compreensão do primado como monarquia absoluta é necessária, ou se o dogma do Vaticano I pode ser entendido de outra maneira