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From 1505 to 1689, Russia's tsars chose their wives through an elaborate ritual: the bride-show. The realm's most beautiful young maidens—provided they hailed from the aristocracy—gathered in Moscow, where the tsar's trusted boyars reviewed their medical histories, evaluated their spiritual qualities, noted their physical appearances, and confirmed their virtue. Those who passed muster were presented to the tsar, who inspected the candidates one by one—usually without speaking to any of them—and chose one to be immediately escorted to the Kremlin to prepare for her wedding and new life as the tsar's consort. Alongside accounts of sordid boyar plots against brides, the multiple marriages of Ivan the Terrible, and the fascinating spectacle of the bride-show ritual, A Bride for the Tsar offers an analysis of the show's role in the complex politics of royal marriage in early modern Russia. Russell E. Martin argues that the nature of the rituals surrounding the selection of a bride for the tsar tells us much about the extent of his power, revealing it to be limited and collaborative, not autocratic. Extracting the bride-show from relative obscurity, Martin persuasively establishes it as an essential element of the tsarist political system.
From 1505 to 1689, Russia's tsars chose their wives through an elaborate ritual: the bride-show. The realm's most beautiful young maidens—provided they hailed from the aristocracy—gathered in Moscow, where the tsar's trusted boyars reviewed their medical histories, evaluated their spiritual qualities, noted their physical appearances, and confirmed their virtue. Those who passed muster were presented to the tsar, who inspected the candidates one by one—usually without speaking to any of them—and chose one to be immediately escorted to the Kremlin to prepare for her wedding and new life as the tsar's consort. Alongside accounts of sordid boyar plots against brides, the multiple marriages of Ivan the Terrible, and the fascinating spectacle of the bride-show ritual, A Bride for the Tsar offers an analysis of the show's role in the complex politics of royal marriage in early modern Russia. Russell E. Martin argues that the nature of the rituals surrounding the selection of a bride for the tsar tells us much about the extent of his power, revealing it to be limited and collaborative, not autocratic. Extracting the bride-show from relative obscurity, Martin persuasively establishes it as an essential element of the tsarist political system.
The Tsar's Happy Occasion shows how the vast, ornate affairs that were royal weddings in early modern Russia were choreographed to broadcast powerful images of monarchy and dynasty. Processions and speeches emphasized dynastic continuity and legitimacy. Fertility rites blended Christian and pre-Christian symbols to assure the birth of heirs. Gift exchanges created and affirmed social solidarity among the elite. The bride performed rituals that integrated herself and her family into the inner circle of the court. Using an array of archival sources, Russell E. Martin demonstrates how royal weddings reflected and shaped court politics during a time of dramatic cultural and dynastic change. As Martin shows, the rites of passage in these ceremonies were dazzling displays of monarchical power unlike any other ritual at the Muscovite court. And as dynasties came and went and the political culture evolved, so too did wedding rituals. Martin relates how Peter the Great first mocked, then remade wedding rituals to symbolize and empower his efforts to westernize Russia. After Peter, the two branches of the Romanov dynasty used weddings to solidify their claims to the throne. The Tsar's Happy Occasion offers a sweeping, yet penetrating cultural history of the power of rituals and the rituals of power in early modern Russia.
For readers of Philippa Gregory and Alison Weir comes a dramatic novel of the beloved Empress Maria, the Danish princess who became the mother of the last Russian tsar. “This epic tale is captivating and beautifully told.”—Lisa Wingate, New York Times bestselling author of Before We Were Yours Barely nineteen, Minnie knows that her station in life as a Danish princess is to leave her family and enter into a royal marriage—as her older sister Alix has done, moving to England to wed Queen Victoria’s eldest son. The winds of fortune bring Minnie to Russia, where she marries the Romanov heir, Alexander, and once he ascends the throne, becomes empress. When resistance to his reign strikes at the heart of her family and the tsar sets out to crush all who oppose him, Minnie—now called Maria—must tread a perilous path of compromise in a country she has come to love. Her husband’s death leaves their son Nicholas as the inexperienced ruler of a deeply divided and crumbling empire. Determined to guide him to reforms that will bring Russia into the modern age, Maria faces implacable opposition from Nicholas’s strong-willed wife, Alexandra, whose fervor has led her into a disturbing relationship with a mystic named Rasputin. As the unstoppable wave of revolution rises anew to engulf Russia, Maria will face her most dangerous challenge and her greatest heartache. From the opulent palaces of St. Petersburg and the intrigue-laced salons of the aristocracy to the World War I battlefields and the bloodied countryside occupied by the Bolsheviks, C. W. Gortner sweeps us into the anarchic fall of an empire and the complex, bold heart of the woman who tried to save it. Praise for The Romanov Empress “Timely . . . [Gortner’s] ability to weave what reads as a simple tale from such complex historical and familial storylines is impressive. . . . Maria’s life as a royal reads like a historical soap opera.”—USA Today “Gortner, an experienced hand at recreating the unique aura of a particular time and place, will deftly sweep historical-fictions fans into this glamorous, turbulent, and ultimately tragic chapter in history.”—Booklist (starred review) “Mesmerizing . . . This insightful first-person account of the downfall of the Romanov rule . . . is the powerful story of a mother trying to save her family and an aristocrat fighting to maintain rule in a country of rebellion.”—Publishers Weekly “A twist on the tragic story you’ve heard many times before.”—Bustle
John Phillip Reid is one of the most highly regarded historians of law as it was practiced on the state level in the nascent United States. He is not just the recipient of numerous honors for his scholarship but the type of historian after whom such accolades are named: the John Phillip Reid Award is given annually by the American Society for Legal History to the author of the best book by a mid-career or senior scholar. Legitimating the Law is the third installment in a trilogy of books by Reid that seek to extend our knowledge about the judicial history of the early republic by recounting the development of courts, laws, and legal theory in New Hampshire. Here Reid turns his eye toward the professionalization of law and the legitimization of legal practices in the Granite State—customs and codes of professional conduct that would form the basis of judiciaries in other states and that remain the cornerstone of our legal system to this day throughout the US. Legitimating the Law chronicles the struggle by which lawyers and torchbearers of strong, centralized government sought to bring standards of competence to New Hampshire through the professionalization of the bench and the bar—ambitions that were fought vigorously by both Jeffersonian legislators and anti-Federalists in the private sector alike, but ultimately to no avail.
The Tsar's Happy Occasion shows how the vast, ornate affairs that were royal weddings in early modern Russia were choreographed to broadcast powerful images of monarchy and dynasty. Processions and speeches emphasized dynastic continuity and legitimacy. Fertility rites blended Christian and pre-Christian symbols to assure the birth of heirs. Gift exchanges created and affirmed social solidarity among the elite. The bride performed rituals that integrated herself and her family into the inner circle of the court. Using an array of archival sources, Russell E. Martin demonstrates how royal weddings reflected and shaped court politics during a time of dramatic cultural and dynastic change. As Martin shows, the rites of passage in these ceremonies were dazzling displays of monarchical power unlike any other ritual at the Muscovite court. And as dynasties came and went and the political culture evolved, so too did wedding rituals. Martin relates how Peter the Great first mocked, then remade wedding rituals to symbolize and empower his efforts to westernize Russia. After Peter, the two branches of the Romanov dynasty used weddings to solidify their claims to the throne. The Tsar's Happy Occasion offers a sweeping, yet penetrating cultural history of the power of rituals and the rituals of power in early modern Russia.
Once upon a time there was a handsome sixteen-year-old prince who was the heir to one sixth of the world and to the largest private fortune on earth. Once there was a beautiful golden-haired princess who came from a small German duchy. They met and their love forever changed the course of history. This is their story, told in Alexandra's voice, the tale of Nicholas Romanov and Alexandra of Hesse, who became her Imperial Highness Alexandra Feodorovna of Russia, the last Empress of Russia. Long before the tragedy there was the romance, the one-of-a-kind fairytale story of two beautiful young people who met, loved, and were given everything that money could buy, combined with nearly limitless earthly power. They must have lived happily ever after. Didn't they ...? Part II: 'The Empress of Tears, ' covering the years 1895-1904, will be published in the early summer of 2016.
This revisionist history of the transfer of the tsar's power in early modern Russia, from the Moscow princes of the fifteenth century to Peter the Great, overturns generations of scholarship to argue that legal primogeniture never existed: the monarch designated an heir that was usually the eldest son only by custom, not by law.
Russia in its "time of troubles," 1598-1613, is the subject of prolific freelance writer Shubin's new book. The author describes this work as his translation and adaptation into English of a variety of famous works, which he actually lists, a welcome departure from the common practice of a number of best-selling popular histories, such as Henri Troyat's Ivan le Terrible (1982), which shamelessly raided the pages of famous historians like N.M. Karamzin with scarcely a nod. However, Shubin's method does not conform to the standards of professional history, and it raises obvious questions about intended readership. In addition, the lack of any but discursive or informative footnotes makes it difficult to know who is being translated and adapted. Actually, The "author" (if that is the proper term here) has arranged the material better than one would expect, and even made it useful for totally uninformed readers just setting out to explore the subject. However it would be so much better for beginners to turn to complete translations of Shubin's sources, a number of which long have been available from Academic International Press.
Reproduction of the original: The Russian Opera by Rosa Newmarch