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The main focus of the dissertation is 15th century Italian court dance, which was one of the prime manifestations of the emerging aristocratic society all across renaissance Europe. The dissertation draws on a detailed research into original dance notations and works on dance theory of dance masters Domenico da Piacenza, Antonio Cornazana and Guglielmo Ebreo/Giovanni Ambrosio and contains first-time Czech translations of important parts of these works. The text first addresses general issues (occasions and locations for dancing, dance education and the role of the dance master, functions of dance in a given historical period, intellectual and philosophical framework of early dance treatises) and moves on to analyse specific features of period dance theory and provides a description of ractical aspects of the realization of dance choreography (basic steps and movements, figures, spatial dance forms etc.). The dissertation contains a reconstruction of one such dance choreography. A certain journey into related fields and later historical periods are chapters on the aesthetic of movement (required posture, position of the head, facial expression, hand gestures etc.) and period etiquette (acceptance of social hierarchy in dance and beyond, ways of showing respect and greetings, asking to dance and...

This thesis deals with image of women in romances of second half of 14th century with accent on the Czech productions. Foreign productions are mentioned as well, but this productions are mentioned marginally. At the beginning of this project, there are presented primary and secondary sources on which the project is based. Methodics of project are next. Next there is described issue of romances in european and Czech environment and there is description of real stand of woman in the Middle Ages. Afterwards there are presented characters of women in particular sources with historical context. End of project includes conclusion which is trying to explain how a woman in the 14th century was perceived in used sources.

From an ingenious fool to the Grail King: the significance of courtly love in Wolfram’s Parzival The focus of this thesis lies on the doctrines in courtly behavior, a multifaceted system of chivalric norms and behaviors often referred to as the knightly virtue system based on the literature of the early and high Middle Ages. The aim of this thesis is to study the different aspects, such as religious, military, courtly and romantic, of the knightly virtue system. The romantic aspect of the knightly ideal is given particular attention, as it is the focus of this paper. The word minne is the bearer of the romantic aspect and is central in Wolfram’s von Eschenbach Parzival which is the main source studied. The following issues are discussed in more detail: how the knightly ideal is presented in Wolfram’s epic and to what extent the minne affects the development of Parzival to the Grail king. In the course of this thesis it will also be shown that the romantic aspect is the most influential aspect of the knightly virtue system and that this particular aspect truly defines an ideal knight.

In its current sense, courting means 'wooing'; but its original meaning was 'residing at court'. The amorous sense of the word developed from a purely social sense in most major European languages around the turn of the sixteenth century, a time when, according to some historians, Western states were gradually moving toward the genesis of absolutism and the establishment of courts as symbols and agents of centralised monarchical power. This study examines the shift in meaning of the words courtship and to court, seeking the origins of courtship in court society, with particular reference to the court and literature of the Elizabethan period. Chapter 1 charts the traditional association between courts and love, first in the historiography of 'courtly love', and then in historical and sociological accounts of court society. Recent studies have questioned the quasi- Marxist notion that the amorous practices of the court and the 'bourgeois' ideals of harmonious, fruitful marriage were antithetical, and this thesis examines whether the development of 'romantic love' has a courtly as well as a bourgeois provenance. Chapter 2 conducts a lexical study of the semantic change of the verb to court in French, Italian, and English, with an extended synchronic analysis of the word in Elizabethan literature. Chapter 3 goes on to diversify the functional classification required by semantic analysis and considers the implications of courtship as a social, literary and rhetorical act in the works of Lyly and Sidney. It considers the 'humanist' dilemma of a language that was aimed primarily at seduction, and suggests that, in the largely discursive mode of the courtly questione d'amore, courtship could be condoned as a verbalisation of love, and a postponement of the satisfaction of desire. Chapter 4 then moves away from the distinction between humanist and courtly concerns, to examine the practice of courtship at the court of Elizabeth I. It focuses on allegorical representations of Desire in courtly pageants, and suggests that the ambiguities inherent in the 'legitimised' Desire of Elizabethan shows exemplify the situation of poets and courtiers who found themselves at the court of a female sovereign. In chapter 5 discussions of the equivocation inveterate to courtly texts leads to a study of The Faerie Queene, and specifically to Spenser's presentation of courtship and courtly society in the imperialist themes of Book II and their apparent subversion in Book VI. The study concludes with a brief appraisal of Spenser's Amoretti as a model for the kind of courtship that has been under review.

1./1 Courtly Love in the context of ludic elements of courtly culture (Cantigas de Santa Maria and the troubadour chansonnier R) Matouš Jaluška Abstract Dissertation Courtly Love in the context of ludic elements of courtly culture (Cantigas de Santa Maria and the troubadour chansonnier R) strives to refine on the common notion that the me- dieval courtly poetry is a kind of game. It is based in the tradition of thinking about playing, which is based on the essay Homo ludens of Johan Huizinga and continues through works of Roger Cailloise, Jacques Henriot and Eugen Fink to the current trend of Game Studies. Close reading of the authorities in the introductory chapter shows that each of them assigns an im- portant role to the notion of discontinuity or rupture that enables them to establish the game as a non-binding and safe world. The concept of troubadour poetic creation as a safe activity is explored in the second chapter based on the works of the two founding figures of the trouba- dour tradition, Guilhem de Peitieu ("the Count of Poitiers") and Marcabru. The comparison shows that the safety of troubadour poetry is closely connected with the idea of binding or non-binding language. Binding speech is strongly linked to the image of female power and the ability of women to breed offspring and thus to keep...

This essay aims to examine the expressions of love in classical Persian poetry and the European, medieval courtly love. The main focus is to analyze the Persian divine love using a selection of poems from Jalal al-din Rumis Vassflöjtens sång and Fakhr al-din Araqis Gnistornas bok, both translated and commented by Ashk Dahlén. The method used for this study is to analyze the Persian divine love with the perspective of the courtly love using the questions how the love in the poems are expressed and how it relates to the rules of courtly love. The knowledge behind the Persian poetry is mostly provided by Ashk Dahlén, Bo Utas and Simon Sorgenfrei with Kärleken begär att detta tal skall fram. The divine love is in the analysis compared with different expressions of medieval courtly love throughout the century supported by Anders Cullheds chapter about courtly love in Tidens guld: essayer om kanon, liv, poesi and Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. I do a comparative analysis between the Persian poetry and different examples from the courtly love highlighting mostly the similarities but also some important differences. It also examines the use of eros and agape with the help of Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik for a more in depth analyze. In conclusion, I found that there are a lot of similarities in the expression of both worldly and divine contexts but that it is built on different foundations. The essay ends by discussing the predominant similarities and why it might be similar but also problematizes and highlights a few differences like the use of eros and agape and the use of motives. The intention of this essay is to open up for further research regarding the subject and examine why it is possible to find such similarities at the same historical time but in two different parts of the world. / Denna uppsats ämnar jämföra kärleksuttrycket i klassisk persisk poesi med den europeiska, medeltida höviska kärleken. Syftet med denna uppsats är att utifrån ett höviskt kärleksperspektiv analysera hur kärleken kommer till uttryck hos två namn inom den klassiska persiska poesin, Jalal al-din Rumi och Fakhr al-din Araqi. Den gudomliga kärleken har analyserats med hjälp av Rumis samling Vassflöjtens sång och Araqis Gnistornas bok, båda översatta och kommenterade av Ashk Dahlén. Metoden för denna uppsats är att analysera den persiska poesin med hjälp av den höviska kärleken som ett verktyg. Detta kommer att göras med hjälp av frågorna hur kärleken i poesin tar sig uttryck och hur den förhåller sig till den höviska kärleksmodellen. Vetskapen om den persiska poesin tillhandahålls av bland annat Ashk Dahlén, Bo Utas och Simon Sorgenfrei med antologin Kärleken begär att detta tal skall fram. Den gudomliga kärleken jämförs i analysen med olika uttryck av höviska kärlek genom århundradet med hjälp av Anders Cullheds kapitel om hövisk kärlek i Tidens guld: essay om kanon, liv, poesi och Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. Jag gör en komparativ analys mellan den persiska poesin och diverse exempel från den höviska kärleken och framhäver framförallt dess likheter men också en del större olikheter. Uppsatsen undersöker också användningen av eros och agape med hjälp av Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik för en djupare analys. Sammanfattningsvis visar analysen en rad likheter i uttrycket inom både värdsliga och andliga sammanhang men också att dessa likheter grundar sig på olika utgångspunkter. Uppsatsen avslutas med att diskutera de övervägande likheterna och varför dessa går att finna men problematiserar och framhäver även de olikheter som går att finna som användadet av eros och agape samt användningen av motiv. Intentionen med denna uppsats är att öppna upp för mer forskning inom området och att undersöka varför det är möjligt att finna dessa likheter under samma tidsperiod i olika delar av världen.

In the twelfth and thirteenth centuries women troubadours in southern France called trobairitz participated in dialogue or debate poems called tensons with male troubadours. Of the nine existing tensons that include a male and a female voice, we will only analyze five tensons with the known identities of both the trobairitz and the troubadour that debate the subject of love, and we will include the following trobairitz tensons in this paper: Alamanda, Isabella, Garsenda, Lombarda and Maria de Ventadorn. We will discuss the thematic elements these five tensons share. Scholars such as Pierre Bec, Peter Dronke and Katharina Wilson note trobairitz' themes vary from those of traditional male troubadours. Troubadours concentrate on the outward or social manifestations of the courtly love game and values, yet trobairitz focus on the intimate, private pleasures of love by deviating from generally accepted courtly love conventions and social behaviors. Since the subject of love is debated in these five tensons, the personal character in these tensons alludes to the trobairitz's life—circumstances and incidents. A trobairitz's personal character is also illustrated in the tenson by her willingness to show personal qualities about a love relationship and as Deborah Perkal-Balinsky calls it "a willingness to deviate from accepted social behavior or perhaps the rules of the game, in an effort to attain the intimate pleasures in a love relationship" (46). The tensons discussed provide valuable information about trobairitz and courtly love—the publicly displayed values of honor, valor and mercy. At times, trobairitz solicit love by revolting against the courtly love rules to win a man. In courtly love tensons, trobairitz use the literary style, courtly vocabulary and courtly values to express both their support and criticism for the system. Through the use of courtly vocabulary, trobairitz conform to the styles developed by troubadours, yet when trobairitz write as female lovers and poets, they also discard the conventions set forth by troubadours, since they are not male lovers and poets. In each tenson the literary mode is man-in-society, and the theme centers around love"”either the praise of it or the blame from lack thereof or both (Hagen 27). In each of the five tensons, there are three common threads in the trobairitz love relationships: (1) in each tenson we see the personal character of the trobairitz; (2) we see them deviate from the accepted social behavior or the rules of the game; and (3) we witness that the trobairitz are usually unhappy with their love relationships. We will examine each tenson individually regarding these three aspects.

Cette thèse présente une édition philologique et annotée du roman peu connu, écrit et publié par le maître d’escrime de Philippe IV, Luis Pacheco de Narváez, dont le titre est Historia ejemplar de las dos constantes mujeres españolas, imprimé pour la première fois à Madrid par l’Imprenta del Reino l’année 1635. Le travail est divisé en cinq chapitres, puisque en plus de celui consacré à l’édition du roman (chap. V), qui établit un texte annoté basé sur les deux seules éditions connues (Madrid, 1635 et Séville, 1744) avec son catalogue de variantes, quatre autres lui servent de contexte. Ainsi, nous présentons une biographie de Pacheco de Narváez (Baeza, 1560-Madrid, 1640), rédigée autour de la documentation conservée, qui est accompagnée par une liste de références littéraires d’époque qui évoquent sa figure et son œuvre, et une épigraphe qui se veut une réflexion scientifique sur ses relations avec Francisco de Quevedo (chap. I); une histoire du texte qui étudie la date de composition du roman, la première édition et le moment compliqué pour publier des romans dans ces années à cause de la censure (1625-1635), d’un projet de publication non abouti et de la seconde édition, ainsi que la trajectoire critique du roman et l’absence d’éditions ultérieures (chap. II); une étude de nature taxonomique (bien que l’accent soit mis aussi sur la moralité présente dans le roman) qui implique son rattachement, en dépit de son extension, au genre du roman «courtois» (chap. III); et enfin un chapitre dédié au contexte littéraire, divisé en deux grands blocs: l’un consacré aux sources et aux matériaux que l’auteur a utilisés pour donner forme au roman, et un autre qui étudie, à titre d’exemple, l’un des sujets présent dans ce dérnier et qui était aussi très courant dans la littérature de l’époque: la descriptio tempestatis. Cette dernière partie est complétée par un appendice qui analyse le sujet de la tempête dans la Jerusalén conquistada (1609) de Lope de Vega (chap. IV). / This thesis present a critical edition of the non-well known novel written and published by the fencing master of Philip IV, Luis Pacheco de Narváez, whose title is Historia ejemplar de las dos constants mujeres españolas, printed for the first time in Madrid by the Imprenta del Reino the year 1635. The work is divided into five chapters. In addition to the section dedicated to the edition of the novel (ch. V), which establishes an annotated text based on the only two known editions (Madrid, 1635 and Seville, 1744) with her list of variants, another four serve as context to it. Thus, we present a biography of Pacheco de Narváez (Baeza, 1560-Madrid, 1640), drafted in accordance with the preserved documentation, which is complemented by a literary list of references of this period about the figure and the work of the author, and an epigraph that wants to be a scientific consideration on his relations with Francisco de Quevedo (ch. I); a history of the text that studies the date of composition, the first edition and the complicated situation to publish novels in these years due to censorship (1625-1635), an aborted publication project and the second edition, as well as the critical trajectory of the novel and the absence of later editions (ch. II); a taxonomic study (although emphasis is placed on the morality present in the story) that implies its attachment to the genre of the so-called “courtly novel” (ch. III); and finally a chapter dedicated to the literary context, divided in two large parts: one dedicated to the sources and materials that the author could use to form the novel, and another that studies, by way of example, one of the literary topics present in the text and in the literature of the time: the descriptio tempestatis. This last part complements, as addition, with a study of the subject of the storm in the Jerusalen conquistada (1609) by Lope de Vega (ch. IV). / El objeto de esta tesis es presentar una edición filológica y anotada de la poco conocida novela escrita y publicada por el maestro de esgrima del monarca Felipe IV, Luis Pacheco de Narváez, cuyo título es Historia ejemplar de las dos constantes mujeres españolas, impresa por vez primera en Madrid por la Imprenta del Reino el año de 1635. El trabajo se divide en cinco capítulos, pues además del específico dedicado a la edición de la obra (Cap. V), que establece un texto anotado sobre la base de las dos únicas ediciones conocidas (Madrid, 1635 y Sevilla, 1744) junto con su aparato de variantes, otros cuatro sirven de contexto a la misma. Así, presentamos una nueva y completa biografía de Luis Pacheco de Narváez (Baeza, ha. 1560-Madrid, 1640), redactada en torno a la documentación conservada, que se complementa con un importante elenco de las menciones literarias de época que hacen referencia a la figura y la obra del autor, y un epígrafe que quiere ser una reflexión científica sobre sus relaciones con el escritor Francisco de Quevedo (Cap. I); una historia del texto que estudia la fecha de composición de la obra, la primera edición madrileña de 1635 y la complicada tesitura para publicar novelas en estos años a causa de la censura imperante (1625-1635), un proyecto de publicación abortado y la segunda edición sevillana de 1744, así como la trayectoria crítica de la novela y la inexistencia de ediciones posteriores (Cap. II); un estudio de carácter taxonómico (aunque se haga hincapié en la moralidad presente en el relato) que supone su adscripción al género, pese a su extensión, de la denominada como novela «cortesana», bien que se constate y analice también la presencia de elementos de otros géneros como la novela bizantina, caballeresca, etc. (Cap. III); y por último un capítulo dedicado al contexto literario, dividido a su vez en dos grandes bloques: uno dedicado a las fuentes y materiales que pudo utilizar el autor para conformar la novela, y otro que estudia, a manera de ejemplo, uno de los tópicos literarios presentes en la misma y en la literatura de la época: la descriptio tempestatis. Este último bloque se complementa, en tanto que apéndice, con un estudio del tema de la tormenta en el libro VII de La Jerusalén conquistada (1609) de Félix Lope de Vega (Cap. IV). Se cierra la tesis con el consabido apartado bibliográfico.