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...

The title of this work is “Indivisible and Inseparable” the motto of the Austro-Hungarian Empire. This motto is just one of many ways in the Austro-Hungarian Empire fought against the centrifugal forces seeking to destroy it. I argue here that the historic theory of decline and fall is misguided as a model for understanding the collapse of the Austro-Hungarian Empire, and question its usefulness when applied to other nation states and empires as well. I suggest that the Austro-Hungarian military, specifically its condition prior to the First World War, is an ideal lens for exploring the dissolution of the Empire at the end of the war in 1918. The Austro-Hungarian military was composed of over 10 different nationalities at a time of surging nationalism, and was the single most important institution charged with the preservation of the Empire. This unique linkage with the state of the Empire as a whole renders the military, in particular the Common Army, extremely useful for examining this issue. I will discuss the structure of the military, its response to the problems posed by nationalism, and contemporary public views about the military within the Empire.

This thesis explores the various elements of Takarazukaʼs performance style, and analyses how they influence the adaptation of pieces which fall outside this style. As a case study this thesis will examine the world-wide acclaimed Viennese German-language musical Elisabeth (1992), which was materially altered in order to suit Takarazukaʼs established style, and became Erizabēto – ai to shi no rondo (Erizabēto – the rondo of love and death, 1996). Employing the existing framework for the analysis of the theatre, by theatre scholars Yamanashi Makiko and Marumoto Takashi, this thesis will provide a detailed account of Takarazukaʼs style elements, and show how pieces which fall outside this style are treated. The conversation on Takarazukaʼs performance style is recently started in English, and this thesis is intended to add to this. The Takarazuka version, Erizabēto – ai to shi no rondo is contrasted with the original Viennese in terms of 1) plot, dialogue and characterisation; and 2) lighting and scenery, and wardrobe to illustrate Takarazukaʼs adaptation process. Upon doing this analysis, it became apparent that Takarazuka has an established style which centres on romanticism, fantasy and visual richness, and that pieces that do not originally fit within this style are thoroughly altered in order to become appropriate for the Takarazuka stage.

Exploration was a defining aspect of how European societies encountered and established relations with the wider world. It set the stage for worldwide empires and laid the foundations for understandings of planetary existence. Exploration facilitated the exchange of commodities and ideas, the migration of peoples and the construction of scientific knowledge. This dissertation examines the nexus between ice and imperium through a study of how citizens of the Habsburg Monarchy contributed to polar exploration. In the long nineteenth century, the two main objects of European exploration were Africa and the polar regions. In the former, the dynamic between exploration and empire was fairly straightforward. But how did imperialism function in the frozen, uninhabited, latitudes of the world? This question becomes more problematic for the Habsburg Monarchy, a multinational polity with eleven officially recognized languages, and a self-professed empire that was the one European "Great Power" at the time without overseas colonies. This dissertation analyzes how the symbology and practice of polar exploration was used in the service of sundry - and frequently contradictory - political projects, including various nationalist activisms, Habsburg loyalism, and the liberal politics of notables. The analysis incorporates a case study in the convoluted road between discovery and empire, Franz Josef Land, the northernmost terrain in Eurasia, discovered by an Austro-Hungarian expedition in 1873. This dissertation then traces fractures within the Austro-Hungarian culture of exploration, as explorer/scientists could reach little consensus on the goals and practices for expeditions to the farthest latitudes of the globe. Finally, it examines how the rise of mass-data driven inductive sciences, such as geomagnetism, caused a fundamental redefinition in the practice of polar research toward a model of corporate, coordinated scientific effort and transnational cooperation. With the emergence of nation states and colonial empires, the basic frameworks of sovereignty, legitimacy and political meaning were changing and this study highlights how Habsburg subjects contributed to these modernization processes. In so doing, it brings to light neglected but lasting aspects of nineteenth century imperialism and treats both nationalism and empire as research problems rather than given ends. / History

This thesis aims to analyze the contributions of the Ottoman Empire to the construction of modern Europe in the early modern period. Conventional historiography generally argues that the Ottoman Empire contributed to the emergence of the modern European identity only through acting as the &amp / #8216 / other&amp / #8217 / of Europe. This thesis, however, aims to show that such an analysis is not enough to understand the Ottoman impact on the European state system. Moreover, it argues that the Ottoman Empire contributed to the construction of this system both politically and economically. By depriving the Habsburg Empire of dominating whole continent, Ottoman Empire helped the proto-modern centralizing states, i.e. England, France and the Netherlands, and Protestantism to survive the suppression of the Habsburgs. On the other hand, by granting capitulations to these European states, it contributed to the economies of these states in a way that they could be able to develop their emerging capitalist economies. In all, this thesis concludes that the Ottoman Empire was not a passive actor and an outsider to the European system, acted only as a counter-reference point in the formation of the European identity / rather, it actively involved in the European politics and economics as an active actor.

Teilw. zugl.: Budapest, Central European University, Diss., 2005. / Literaturverz. S. [365] - 377.

“The Artist as Curator: Diego Velázquez, 1623-1660” reconsiders the career of Diego Velázquez at the court of Hapsburg king Philip IV as a major episode in the history of curatorial practice. By this it means to examine the ways Velázquez’s activities as a painter and his activities as curator of the Hapsburg art collection transformed each other. Velázquez’s paintings express ambitions and attitudes towards his predecessors that would motivate Velázquez’s reorganization of parts of the royal collection that included their works. In turn, the collection and display of paintings in royal exhibition sites would cultivate in Velázquez a knowledge of art and its history that would inform the paintings he produced at court. Velázquez was a singularly art-historical painter, many of whose works investigate the nature of art itself. This dissertation seeks to prove that these aspects of Velázquez’s work were cultivated in the early modern museum that was the Alcázar palace, where he was surrounded by a veritable history of art under the Hapsburgs. The dissertation has five chapters; each closely examines a significant project in Velázquez’s trajectory as artist-curator at the Hapsburg court. The first uses the first major installation that Velázquez would witness at the Hapsburg court to set up the problematic of the dissertation as a whole - namely, that meaning was made on the walls of galleries, and that if Velázquez was going to make his name at court, it would be by engaging the royal art collection as it appeared on gallery walls. The second investigates Velázquez’s first curatorial project, the redecoration of the Octagonal Room; it argued that Velázquez’s interest in art itself—an interest characteristic of his painting practice—found a new medium in his work as curator of this gallery. The third chapter reexamines The Rokeby Venus as a function of what Velázquez witnessed over the course of the assembly of the Vaults of Titian, where paintings of nudes were exhibited all together; it thus demonstrates the impact of the royal art collection and its display on his creative imagination as a painter. The fourth chapter considers the culminating curatorial project of Velázquez’s career—the redecoration of the Hall of Mirrors—in tandem with the suite of paintings he made for it—the painting cycle including Mercury and Argus, examining the ways that these two projects mutually informed one another. The final chapter proposes that Las Meninas again evidences Velázquez’s curatorial and painterly imaginations at work simultaneously; then it uses the painting as a point of entry into the reception of both of these aspects of Velázquez’s work at the Hapsburg court, arguing that to make art after Velázquez was to acknowledge both. All together, these chapters tell the story of Velázquez’s increasing engagement with the royal art collection, from the start of his career at the Hapsburg court through his legacy beyond it.

This thesis deals with the origins of the modern prison system in czech lands at the first third of the 19th century. At first, the theoretical part of the thesis presents the opinions of the authors of existing literature. Afterthen it concentrates at the most famous reformers of criminal law and prison system. In the end it describes the criminal justice system and prison in Habsburg Monarchy. Practical part of the thesis is divided into three parts - punishment, prison and prisoner. The first part deals with the concept of the punishment and its purpose. It presents and analyzes crimes and punishments. The second part is focused on the prison and its functions. Was the purpose of the prison to punish or also to correct the prisoner? Which instruments served to correction of the prisoner? The thesis also compares the functioning of the prison and the other institution of detention - the workhouse. The last part is searching for the answers on this questions: How should the prison act on the prisoner's soul and body? What part did the punishments play within the prison and how should they be realized? The aim of the thesis is to try to capture, how did the new concepts of imprisonment show in the praxis of prison and how they act on organization of prison. Key words: punishment, prison, prisoner,...

This thesis explores Joseph Roth's image of the Habsburg Empire es depicted in two of his works, namely Radetzkymarsch (1932) and Die Kapuzinergruft (1938).

[pt] O presente trabalho tem como objetivo compreender o processo de construção subjetiva da primeira Imperatriz do Brasil, Leopoldina de Habsburgo, entre os anos de 1810 e 1818, período este que contempla seus últimos anos na Corte Austríaca até a sua ascensão como princesa do Brasil. Para tanto, são analisadas as cartas de Leopoldina dirigidas à sua irmã mais velha, Maria Luísa de Habsburgo, mobilizando as categorias de self-fashioning (automodelagem), de Stephen Greenblatt, e amizade epistolar, de Anne Vicent-Buffault. Argumenta-se que a relação de amizade a distância, via correspondência, com Maria Luísa teve um papel decisivo na automodelagem de Leopoldina, dando-lhe condições de enfrentar as questões e desafios relacionados à sua condição melancólica e à assunção de seu papel público. / [en] The present work aims to understand the process of subjective construction of the first Empress of Brazil, Leopoldina de Habsburg, between the years 1810 and 1818, a period that includes her last years at the Austrian Court until her ascension as princess of Brazil. To this end, Leopoldina s letters addressed to her older sister, Maria Luísa de Habsburgo, are analyzed, mobilizing the categories of self-fashioning, by Stephen Greenblatt, and epistolary friendship, by Anne Vicent-Buffault. It is argued that the relationship of long-distance friendship, via correspondence, with Maria Luísa played a decisive role in Leopoldina s self-modeling, giving her the conditions to face the questions and challenges related to her melancholic condition and the assumption of her public role.