This thesis examines the culture and practice of dance in Denmark in the seventeenth century, focussing on the performance practice within festivals, the pervading French influence and philosophical discourse of dance. The repertoire of staged court dance in Denmark comprises ballets and plays performed in conjunction with festival events such as coronations, weddings, and christenings. Typical is the 1634 festival in honour of Prince-Elect Christian and Magdalena Sibylla�s wedding in Copenhagen, a celebration of international significance. Subsequent celebrations during the reigns of Frederik III and Christian V followed similar models. The festival of 1655 in homage of Prince Christian, for example, gave rise to performances of the ballet Unterschiedliche Oracula, and the German-language opera Arion. The programmes from these performances, along with other contemporary descriptions, provide evidence of aspects of the ballet genre, stage construction, machinery, characters, allegory and political themes. The Danish productions, which also include an equestrian ballet, are in many respects comparable to French court ballets produced from the beginning of the century. Evidence that French choreographies were known in Denmark is clearly provided by choreographies in the publication Maître de Danse (Glückstadt 1705) and the Danish manuscript of violin dance tunes Additamenta 396 4�. Evidence that the Danish aristocracy actively sought and coveted French culture can be found as early as the wedding festival in 1634 and well into the eighteenth century. French acculturation is evident elsewhere too, such as in Ludvig Holberg�s comedy Jean de France (1722), in a translation of French dance etiquette for youth, in contemporary accounts of French clothing and language, and by the employment of French musicians and dancing masters at the Danish court. Included is an examination of Andreas Schroder�s treatise De Saltatoribus (Flensburg 1622) and Thomas Bartholin�s dance chapter in his book Qu�stiones Nuptialis (Copenhagen 1670) as significant Danish primary sources. These sources are placed in contrast with contemporary European dance manuals such as Arbeau, De Lauze, Esquivel de Navarro, Caroso and Negri. Danish and other European authors differ in their views on the morality of dance, although they cite many of the same Ancient and Biblical sources for their persuasive arguments. Just as Denmark was connected to other countries of northern Europe in a complex political web, so too did these courts share artistic and cultural traditions, which are reflected in the sources related to dance. Danish dance practices can especially be demonstrated to be akin to those of neighbouring German courts, which, like Denmark, imitated the dance fashions of France.

Title page, contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / "The thesis of this dissertation is that the Gleeson High Court is a largely a-theoretical Court, in that the judicial decisions of the Court are characterised by a low-level of abstraction, and the Gleeson Court does not theorise at length about the reasons for adopting a particular judicial approach. This approach distinguishes the Gleeson Court from the realist based jurisprudence of the Mason Court, which articulated the relevance of legal theory and tended to make statements of wide legal principle. The approach of the Gleeson Court also diverges from Dixonian legalism, which the analysis presented in this thesis will establish is a theoretical form of legalism." --p. 4. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1297203 / Thesis (Ph.D.) -- University of Adelaide, Law School, 2007

Title page, contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / "The thesis of this dissertation is that the Gleeson High Court is a largely a-theoretical Court, in that the judicial decisions of the Court are characterised by a low-level of abstraction, and the Gleeson Court does not theorise at length about the reasons for adopting a particular judicial approach. This approach distinguishes the Gleeson Court from the realist based jurisprudence of the Mason Court, which articulated the relevance of legal theory and tended to make statements of wide legal principle. The approach of the Gleeson Court also diverges from Dixonian legalism, which the analysis presented in this thesis will establish is a theoretical form of legalism." --p. 4. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1297203 / Thesis (Ph.D.) -- University of Adelaide, Law School, 2007

This thesis examines the culture and practice of dance in Denmark in the seventeenth century, focussing on the performance practice within festivals, the pervading French influence and philosophical discourse of dance. The repertoire of staged court dance in Denmark comprises ballets and plays performed in conjunction with festival events such as coronations, weddings, and christenings. Typical is the 1634 festival in honour of Prince-Elect Christian and Magdalena Sibylla�s wedding in Copenhagen, a celebration of international significance. Subsequent celebrations during the reigns of Frederik III and Christian V followed similar models. The festival of 1655 in homage of Prince Christian, for example, gave rise to performances of the ballet Unterschiedliche Oracula, and the German-language opera Arion. The programmes from these performances, along with other contemporary descriptions, provide evidence of aspects of the ballet genre, stage construction, machinery, characters, allegory and political themes. The Danish productions, which also include an equestrian ballet, are in many respects comparable to French court ballets produced from the beginning of the century. Evidence that French choreographies were known in Denmark is clearly provided by choreographies in the publication Maître de Danse (Glückstadt 1705) and the Danish manuscript of violin dance tunes Additamenta 396 4�. Evidence that the Danish aristocracy actively sought and coveted French culture can be found as early as the wedding festival in 1634 and well into the eighteenth century. French acculturation is evident elsewhere too, such as in Ludvig Holberg�s comedy Jean de France (1722), in a translation of French dance etiquette for youth, in contemporary accounts of French clothing and language, and by the employment of French musicians and dancing masters at the Danish court. Included is an examination of Andreas Schroder�s treatise De Saltatoribus (Flensburg 1622) and Thomas Bartholin�s dance chapter in his book Qu�stiones Nuptialis (Copenhagen 1670) as significant Danish primary sources. These sources are placed in contrast with contemporary European dance manuals such as Arbeau, De Lauze, Esquivel de Navarro, Caroso and Negri. Danish and other European authors differ in their views on the morality of dance, although they cite many of the same Ancient and Biblical sources for their persuasive arguments. Just as Denmark was connected to other countries of northern Europe in a complex political web, so too did these courts share artistic and cultural traditions, which are reflected in the sources related to dance. Danish dance practices can especially be demonstrated to be akin to those of neighbouring German courts, which, like Denmark, imitated the dance fashions of France.

Thesis (M.J.S.)--University of Nevada, Reno, 2007. / "August, 2007." Includes bibliographical references. Online abstract available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2007]. 1 microfilm reel ; 35 mm.

Thesis (LL.M.). / Written for the Faculty of Law. Title from title page of PDF (viewed 2008/05/13). Includes bibliographical references.

Thesis (Ph. D.)--University of Nevada, Reno, 2008. / "May, 2008." Includes bibliographical references (leaves 75-77). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

Thesis (M. P. A.)--Texas State University-San Marcos, 2009. / "Spring 2009." Includes bibliographical references (leaves 66-70).

Author's doctoral thesis. / Includes bibliographical references (p. [163]-170).

Author's doctoral thesis. / Includes bibliographical references (p. [163]-170).