Texte remanié de: Thèse de doctorat--Droit privé--Poitiers, 2006. / Bibliogr. p. 397-425.

Thèse de doctorat : Sciences de l'information et de la communication : Lyon 2 : 1997. / Titre provenant de l'écran-titre. Bibliogr.

This dissertation examines the relations between court and commerce in Europe at the onset of the modern era. Focusing on one of the most powerful princely courts of the period, the court of Charles the Bold, duke of Burgundy, which ruled over one of the most advanced economic regions in Europe, the greater Low Countries, it argues that the Burgundian court was, both in its institutional operations and its cultural aspirations, a commercial enterprise. Based primarily on fiscal accounts, corroborated with court correspondence, municipal records, official chronicles, and contemporary literary sources, this dissertation argues that the court was fully engaged in the commercial economy and furthermore that the culture of the court, in enacting the ideals of a largely imaginary feudal past, was also presenting the ideals of a commercial future. It uncovers courtiers who, despite their low rank yet because of their market expertise, were close to the duke and in charge of acquiring and maintaining the material goods that made possible the pageants and ceremonies so central to the self-representation of the Burgundian court. It exposes the wider network of court officials, urban merchants and artisans who, tied by marriage and business relationships, together produced and managed the ducal liveries, jewelries, tapestries and finances that realized the splendor of the court. It shows how the princely court adapted to and harnessed the commercial economy of the urban network, employing nominally feudal titles and structures. Furthermore, it reveals how courtly understandings of magnificence and honor were also demonstrations of commercial prowess and acknowledgements of commercial wealth, even as these discourses were framed in terms of chivalric ideals. The princely court was neither merely a predatory expropriator of urban wealth nor a rapacious consumer of luxury goods, but also an active participant in the commercial economy. By examining the 'business' of a princely court, this dissertation seeks to contribute to our understanding of the socio-cultural manifestations of state and market formation during the late medieval and early modern era. This study is one testimony of how Europeans sought to make sense of, and more importantly, to channel and control the tides of commercialization, utilizing the institutional and cultural frameworks they inherited from their past. The intertwined relationship between the princely court and the commercial economy in the Burgundian Netherlands draws our attention to the common processes, institutions and cultures that laid the groundwork for the modern state and the capitalist economy.

Thesis--Göttingen. / Cover title. Vita. Includes bibliographical references (p. [164]-171).

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.

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.

The dissertation records changes in the Kano palace landscape between 1500 and 1990. Patriarchal practices that shaped the initial palace layout at vernacular domestic and state levels are outlined. Royal women were secluded and male slaves occupied public household domains, state strongholds. Later increases in eunuchs' and slave women's powers and spaces are also recorded. The demise of slave women's political realms and the rise of an autocratic and militaristic male state structure following the Fulani jihad of 1807 are then detailed. Lastly, the impact of British imperialism on the landscape of male and female slavery is presented. Because male slaves were placed publicly, they were the main receivers and negotiators of colonial change, and their spaces underwent the most forceful change. / Throughout the analyses, landscapes are seen as politically created and communicative material structures. Examination of epistemological relations used in landscape analyses demonstrates important linkages between how field research is structured and relations of power.

No description available.

Thesis--Bonn. / Includes bibliographical references (p. 469-486).

Thesis (Ph. D.)--Friedrich Wilhelms-Universität, 1905.