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Festival culture is an area which has attracted increasing interest in the field of Renaissance studies in recent years. In part the outcome of scholars' focus on the place of the city in the establishment and dissemination of common culture, the attention paid to festivals also arises from the interdisciplinary nature of the topic, which reaches across the usual demarcation lines between disciplines such as cultural, political and economic history, literature, and the visual and performing arts. The scholars contributing to this volume include representatives from all these disciplines. Their essays explore common themes in festival culture across Renaissance Europe, including the use of festival in political self-fashioning and the construction of a national self-image. Moreover, in their detailed examination of particular types of festival, they challenge generalizations and demonstrate the degree to which these events were influenced the personality of the prince, the sources of funding for the ceremony, and the role of festival managers. Usually perceived as binding forces promoting social cohesion, festivals held the potential for discord, as some of the essays here reveal. Examining a wide range of festivals including coronations, triumphal entries, funerals and courtly spectacles, this volume provides a more inclusive understanding than hitherto of festivals and their role in European Renaissance culture.
19 Ephemeral Ceremonial Architecture in Prague, Vienna and Cracow in the Sixteenth and Early Seventeenth Centuries -- Index of Names
Essays from a specialist seminar held at University of Warwick, April 1990, under the auspices of the Graduate school of Renaissance Studies. The essays examine festival occasions taking place between 1560 and 1660, and draw attention to some of the more vigorous developments of the form of political theatre, not only in Italy but also Denmark, France, England, and the German-speaking states.
A landmark in the study of early modern Europe, this two-volume collection makes available for the first time a selection of the most important texts from court and civic festival books. Festival entertainments were presented to mark such occasions as royal and ducal entries to capital cities, dynastic marriages, the birth and christening of heirs, religious feasts and royal and ducal funerals. Europa Triumphans represents the chronological and trans-European range of the court and civic festival. These festivals are considered not simply as texts, but as events, and are introduced by groups of scholars, each with a specialist knowledge of the political, social and cultural significance of the festival and of the iconography, spectacle, music, dance, voice and gesture in which they were expressed. To demonstrate the geographic spread and political significance of festivals, and to illustrate the range of aesthetic languages they deploy, the festivals included in these two volumes are grouped in the following sections: Henri III; Genoa; Poland-Lithuania; The Netherlands; The Protestant Union; La Rochelle; Scandinavia; and The New World. These texts provide many valuable insights into the variety of political systems and historical circumstances that formed them. Beautifully produced with 148 black-and-white and 23 colour illustrations, Europa Triumphans represents an invaluable reference source for the study of early modern Europe. It presents texts both in transcription and translated into English, and is supplemented with introductory essays and commentaries. Europa Triumphans is co-published by Ashgate and the Modern Humanities Research Association, in conjunction with the AHRB Centre for the Study of the Renaissance at the University of Warwick, UK.
European Renaissance Festivals are noted for their extravagance, for their inherited classical culture, and as evidence of how court and civic spectacles could express political, religious, social and economic aspirations. In this new monograph, the accent is firmly on the violent context of Magnificence: it examines how war affected the minds and practice of both artists and princes, and shows how victims and their suffering were as prominent in festival as were conquerors and their projections of victory. What emerges here is the dark side represented in princely entries where imperial ambitions are built upon civic devastation and where myths elaborate and expose their ambiguous nature and message. Artists and poets collaborated in bringing victory and violence together: Mantegna and Durer in triumphal processions; Frans Floris and Rubens on the canvases they created for triumphal arches where mythology was put to work to arouse excitement for deeds of heroism and death, while engravers depicted scenes of war and destruction to accommodate contemporary taste.
As the first book-length study of waterborne festivities in Renaissance and early modern Europe, this collection of essays draws on a rich array of sources, many previously un-researched, to explore aspects of scenography, choreography, music, fashion, painting, sculpture, architecture, stage-and personnel-management and urban planning as evinced in spectacles staged on water. Bodies of water in all their variety are explored here: seas, rivers, fountains, lakes and canals and flooded improvised locations within or adjacent to great buildings all provided stages for elaborate and costly performances, utilising the particular qualities of water to reflect light and distort sound. The volume encompasses festivals marking a wide range of occasions from the election of civic officials, the welcome of a monarch, an investiture or coronation, to ambassadorial visits or the arrival of a royal or ducal bride or bridegroom. Often taking the form of re-enactments of naval battles or legendary seaborne quests, these festivals seek to buttress civic and national pride, make claims to mastery over the sea and landscape, and explore the imaginative as well as practical life of performance space which has been a hallmark of the research and publication of this volume's honorand, J.R. (Ronnie) Mulryne.
This ethnographic study of contemporary American Renaissance fairs focuses on the Maryland Renaissance Festival, in which participants recreate sixteenth-century England through performances of theater, combat-at-arms, processions, street hawking, and meticulously faithful historical reconstructions. It is also partly an autobiographical account of interactive improvisation, subcultures within the festival framework, the delineation between living history and historical elaboration, and a new understanding of performers and patrons.
This sixth volume in the European Festival Studies series stems from a joint conference (Venice, 2013) between the Society for European Festivals Research and the European Science Foundation’s PALATIUM project. Drawing on up-to-date scholarship, a Europe-wide group of early-career and experienced academics provides a unique account of spectacular occasions of state which influenced the political, social and cultural lives of contemporary societies. International pan-European turbulence associated with post-Reformation religious conflict supplies the context within which the book explores how the period’s rulers and élite families competed for power – in a forecast of today’s divided world.
The fourteen essays that comprise this volume concentrate on festival iconography, the visual and written languages, including ephemeral and permanent structures, costume, dramatic performance, inscriptions and published festival books that ’voiced’ the social, political and cultural messages incorporated in processional entries in the countries of early modern Europe. The volume also includes a transcript of the newly-discovered Register of Lionardo di Zanobi Bartholini, a Florentine merchant, which sets out in detail the expenses for each worker for the possesso (or Entry) of Pope Leo X to Rome in April 1513.