The diploma thesis "Suites for solo flute in French prints 1702-1722" deals with a complete set of printed collections with suites, which represent the first solo music for a transverse flute with basso continuo. The first part is devoted to the influences that made the flute a solo instrument and also to the composers who worked in the royal orchestras at the court of Louis XIV. and composed these collections (Michel de la Barre, Jacques Martin Hotteterre, Anne Danican Philidor, Pierre Danican Philidor and François Danican Philidor). The second part focuses on specific subtopics. First, it is a detailed description of the prints, followed by instrumentation, ornamentation, articulation and formal construction. The work concludes with a detailed explanatory dictionary of non - musical names that appear in some collections.

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The portrait genre has been one of the most significant in royal and aristocratic homes since the Renaissance. This thesis concerns the portrait collection in the Baroque castle Skokloster, built by the successful count and field marshal Carl Gustaf Wrangel in the 1600s with its unique architecture. The castle houses a significant collection of portrait paintings, some of which date back to the time of its construction, and which constitute a majority of the total number of artworks in the collection. The Swedish noble family, as part of Early Modern court culture, saw their creation of an art collection as vital for fashioning a sense of lineage, respectability, and exercise of power. The thesis asks questions like how the portraits can be understood in relation to the architecture and decorum of the rooms, and how the Swedish Baroque culture and aesthetics are staged in the portraits in relation to court culture and the art collection as a whole. The portrait as a medium is a way for us to remember a deceased historical person but at the same time a way for the sitter to idealize and flatter themselves into an image they desire. Hence a portrait is a union between realism and ideal, documentation and fiction. The portrait has a performative power and acts on behalf of the real person which it depicts. Furthermore, the portrait can give us glimpses of a bygone era of court culture, art patrons, artists, Baroque fashion, court ballets, and festivities.

A significant group of Italian-style plays (i.e. stagings that made use of spectacular scenic resources) were performed in Lima in 1672-1747), always in connection with festivities of an imperial nature. Taking as its basis a corpus of fifteen theatrical works, this study examines the conditions of their reception as well as the material avenues that allowed for the development of this type of theater in the capital of the Peruvian viceroyalty. Topics of analysis include: the context and purpose of these representations, the place in which they were presented, their intended public, and the stage media they employed. / Desde 1672 hasta 1747 se documenta en Lima un significativo conjunto de representaciones teatrales «a la italiana» (es decir, montajes que hacen uso de recursos escénicos espectaculares), vinculadas siempre a celebraciones de carácter imperial. A partir de un corpus de quince obras teatrales, se estudian en este trabajo algunas de las condiciones de recepción y los medios materiales que permitieron este particular desarrollo del teatro en la sede del virreinato del Perú: el contexto y los fines de estas representaciones, el lugar donde se levantaba el escenario, el público al que se dirigían y los medios escénicos que se emplearon.

This thesis looks at the court of Anjou-Provence’s book production, under the guidance of King René d’Anjou, during the decades of the 1440’s and ‘50s. It examines four literary works of which three were authored by the prince, namely, "Le Livre des tournois," "Le Mortifiement de vaine plaisance" and "Le Livre du Cœur d’amour épris," and an anonymous translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia", entitled "Le Livre de Thezeo." In this thesis, I argue that these four works, although they emerge as separate events, connect ideologically and iconographically, highlighting a set of ideas that redefines nobility for the French Early Renaissance. Applying a complex combination of approaches, my theoretical framework combines translation, emotions and worldmaking theories. My model reveals King René’s vision of gendered roles and his refined sense of true nobility that make his court’s cultural identity stand out among that of comparable French courts of the day. It also outlines René’s close working relationship with his illustrator Barthélemy d’Eyck. The structure based on the four case studies outlines aspects of the debates on love and courtly culture that developed at René’s court. Chapter One discusses the distinctiveness of the Angevin-Provençal court’s reception of Italian and antique cultures and its importance as a continuum from the Latin translations in the Parisian humanist circles in the 1400s. Chapter Two examines "La Théséïde," the only fully illustrated manuscript of the translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia," analysing the central focus on Emilia as the “Dame Amaczon.” Pursuing the work’s re-envisioning of gendered roles through emotional communities, Chapter Three explores the transformation of two warriors into “nobles chevaliers” in anticipation of René’s standardisation of noble knightly values in his "Livre des tournois." In view of the prince’s age when he started his literary career, Chapter Four questions the role that religion played in his vision of masculinity and unveils the portrait of the contemplative knight in René’s "Mortifiement de vaine plaisance." The heart-centred narrative connects with the quest of the secular heart in his "Livre du Cœur d’amour épris" in Chapter Five. It reveals the knight Cuer’s re-envisioned quest through imaginary lands and its unexpected conclusion as King René’s notion of true nobility refined by spiritual love, for men and women of the Early Renaissance. In the conclusion, the cross-study of these four books highlights their symbiotic working dynamic, and the talent of Barthélemy d’Eyck, that brought together the impressive Angevin-Provençal cultural production emerging within King René’s close circles, on the eve of the French Renaissance. / Graduate

Fashion in the Renaissance became intensely political, highly gendered, and anatomized (i.e. emphasizing human anatomy rather than masking it). Court culture placed a particular emphasis on the body of the courtier, as skills such as dancing and dressing fashionably became crucial to political success in states throughout Europe. In sixteenth-century Florence, the Medici attempted to install a duchy in what was at the time a republican city (with strong republican heritage). Florentine fears of foreign domination and resentment towards non-republican forms of government made the Medici’s task nearly impossible. Fashion became a primary pillar of the Medicean political agenda, as the first members of the Medici family to hold official power in the Florentine Grand Duchy (and their wives) dressed quite modestly in comparison to other sixteenth-century heads of state, so as not to appear to have imperial or monarchical pretensions and thus arouse dangerous levels of antipathy from their Florentine subjects. The first Grand Duchess, Eleonora di Toledo, and the second, Giovanna d’Austria, faced an additional challenge as foreign brides marrying into the Medici duchy, as they were themselves representatives of the influence of imperial power in Florentine politics. They both were faced with countless factors to consider as they made choices about how to dress, and each choice had political, social, and economic implications and consequences.

O Traicitié de la forme et devis comme on fait les tournois (Paris, Bibliothèque nationale de France, ms. Français 2695) escrito por volta de 1460 pelo duque René dAnjou (1409-1480) merece destaque por sintetizar em um único trabalho práticas da cultura de corte principesca tardo-medieval e pela originalidade em combinar material textual e iconográfico para transmitir a mensagem pretendida pelo autor. Optamos pelo trabalho com o códice em questão devido à difusão de documentos através dos meios eletrônicos, pela singularidade da obra e carência de edições modernas. Manuscritos medievais são objetos foco de diferentes campos de pesquisa, o que nos leva a restringir o escopo do nosso trabalho à análise textual a partir da nossa transcrição paleográfica. O objetivo desse trabalho será examinar a dupla funcionalidade do ms. Fr. 2695 por meio da análise do discurso. Mediante o exame qualitativo e quantitativo do corpus lexical, e da comparação com fontes externas, investigaremos primeiramente a função do códice em registrar a prática do torneio para estabelecer como seria o combate idealizado pelo duque e quão longe estaria da prática corrente. Em seguida, procuraremos decifrar o influxo de escritos corteses, cavaleirescos e principescos no interior do tratado para determinar a construção ideológica, de maneira a persuadir o leitor a adotar um determinado comportamento frente à sociedade. / The Traicitié de la forme et devis comme on fait les tournois (Paris, Bibliothèque nationale de France, ms. Français 2695) written around 1460 by the Duke René d\'Anjou (1409-1480) is noteworthy for synthesizing in a single work practices from princely court culture of the Late Middle Ages and the originality of combining textual and iconographic material in order to convey a message intended by the author. We opted for working with the codex in question due to the dissemination of documents by electronic means, by the uniqueness of the work and lack of modern editions. Medieval manuscripts are objects focus of different research fields, which leads us to narrow the scope of our work to textual analysis from our paleographic transcription. The aim of this study is to examine the dual functionality of the ms. Fr. 2695 through discourse analysis. Through qualitative and quantitative examination of the lexical corpus, and the comparison with external sources, first we will investigate the function of the codex to record the practice of the tournament, and then establish how the fight would be devised by the Duke and how far was from current practice. Second, we will try to decipher the influence of courtly, knightly and princely literature within the treatise in order to determine the ideological construction to persuade the reader to adopt a certain behavior in society.

O Traicitié de la forme et devis comme on fait les tournois (Paris, Bibliothèque nationale de France, ms. Français 2695) escrito por volta de 1460 pelo duque René dAnjou (1409-1480) merece destaque por sintetizar em um único trabalho práticas da cultura de corte principesca tardo-medieval e pela originalidade em combinar material textual e iconográfico para transmitir a mensagem pretendida pelo autor. Optamos pelo trabalho com o códice em questão devido à difusão de documentos através dos meios eletrônicos, pela singularidade da obra e carência de edições modernas. Manuscritos medievais são objetos foco de diferentes campos de pesquisa, o que nos leva a restringir o escopo do nosso trabalho à análise textual a partir da nossa transcrição paleográfica. O objetivo desse trabalho será examinar a dupla funcionalidade do ms. Fr. 2695 por meio da análise do discurso. Mediante o exame qualitativo e quantitativo do corpus lexical, e da comparação com fontes externas, investigaremos primeiramente a função do códice em registrar a prática do torneio para estabelecer como seria o combate idealizado pelo duque e quão longe estaria da prática corrente. Em seguida, procuraremos decifrar o influxo de escritos corteses, cavaleirescos e principescos no interior do tratado para determinar a construção ideológica, de maneira a persuadir o leitor a adotar um determinado comportamento frente à sociedade. / The Traicitié de la forme et devis comme on fait les tournois (Paris, Bibliothèque nationale de France, ms. Français 2695) written around 1460 by the Duke René d\'Anjou (1409-1480) is noteworthy for synthesizing in a single work practices from princely court culture of the Late Middle Ages and the originality of combining textual and iconographic material in order to convey a message intended by the author. We opted for working with the codex in question due to the dissemination of documents by electronic means, by the uniqueness of the work and lack of modern editions. Medieval manuscripts are objects focus of different research fields, which leads us to narrow the scope of our work to textual analysis from our paleographic transcription. The aim of this study is to examine the dual functionality of the ms. Fr. 2695 through discourse analysis. Through qualitative and quantitative examination of the lexical corpus, and the comparison with external sources, first we will investigate the function of the codex to record the practice of the tournament, and then establish how the fight would be devised by the Duke and how far was from current practice. Second, we will try to decipher the influence of courtly, knightly and princely literature within the treatise in order to determine the ideological construction to persuade the reader to adopt a certain behavior in society.

The aim of the dissertation is a comparative analysis of the English royal court in the first half of the 17th century. The analytical part of the dissertation focuses on researching processes that influenced the structure and roles in the royal court in regards to the political, religious, economic, social and cultural development of the world. The benchmarks represent the personality of the ruler, institutional structure and personnel composition of the court, its financing and its culture. The comparison is a defined period of time between the beginning of James I (1603) and the end of the personal rule of Charles I (1640). The dissertation is based on critical analysis of the sources and studies of secondary literature. One of the features of the Royal Court during the rule of James I was the rivalry of various factions. In the interest of retaining a balance in power, the monarch revealed selected offices only to members of his Scottish clubs. Targeted strengthening of the influences of selected institutions of court, especially Bedchamber, ended up contributing to a significant weakening of the unitary system of the government, where the Privy Council played a key role up until then. In addition, between 1603 and 1625, there became a strong concentration of power in the hands of the royal...

Cardinal Richelieu is traditionally accredited with defeating the power of the grands, the upper echelon of the French nobility, as part of his supposedly successful project for monarchical absolutism. Modern historians have recast Richelieu as a nobleman of his time, who advanced himself within the social and political hierarchies through marriage alliances and patronage. He therefore worked hard to forge alliances with the grands rather than trying to destroy them. Yet his ministry was riven by persistent noble conspiracies and rebellions, which have gone largely without systematic investigation. This study examines the nature and causes of that unrest during Richelieu’s final six years, offering a radical re-assessment of the opposition and the politics of the period. Noble conspiracy was not just a by-product of government by a first minister, but reflected the factional nature of Richelieu’s approach. Factional rivalry was exacerbated by the emergence, after 1638, of a struggle for the anticipated regency. After this, Richelieu took a more hostile approach to his adversaries, forcing them to adopt strong countermeasures in order to preserve their positions. Richelieu’s opponents were surprisingly successful in asserting their independence. As well as enjoying widespread domestic support, they allied with the Habsburg powers to engineer military rebellion, posing a major threat to the Cardinal and undermining the war effort against Spain. The Spanish set their stall out for a long-term war, expecting that Richelieu’s opponents would eventually gain power and negotiate peace on more flexible terms. The ability of the grands to re-assert themselves was still a dominant characteristic of French politics. Richelieu’s legacy, on his death in 1642, was a highly volatile political situation in which success was still a long way off for France. These findings suggest the catalytic impact of Habsburg power on France’s internal divisions, which should consequently be seen as integral to the forging of the ancien régime.