Court Culture in Seventeenth-Century Friesland

1994 ◽  
Vol 18 (2) ◽  
pp. 61-83
Author(s):  
Philippus H. Breuker
Keyword(s):  
Seventeenth Century ◽  
Court Culture

Figuring Faith and Female Power in the Art of Rubens

2020 ◽  
Author(s):  
J. Vanessa Lyon
Keyword(s):  
Seventeenth Century ◽  
Attitudes Toward Women ◽  
Court Culture ◽  
Peter Paul Rubens ◽  
Catholic Theology ◽  
Historical Scholarship ◽  
Cultural Attitudes ◽  
Female Power

Figuring Faith and Female Power in the Art of Rubens argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens’s paintings continue to be used -- and abused -- to prescribe and proscribe certain forms of femininity. Repositioning some of the artist’s best-known works within seventeenth-century Catholic theology and female court culture, this book provides a feminist corrective to a body of art historical scholarship in which studies of gender and religion are often mutually exclusive. Moving chronologically through Rubens’s lengthy career, the author shows that, in relation to the powerful women in his life, Rubens figured the female form as a transhistorical carrier of meaning whose devotional and rhetorical efficacy was heightened rather than diminished by notions of female difference and particularity.

scholarly journals ‘ “Dannsair air ùrlar-déile thu”: Gaelic evidence about dance from the mid-17th to late-18th century Highlands’

2013 ◽  
Vol 38 ◽  
Author(s):  
Michael Steven Newton
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
English Language ◽  
18Th Century ◽  
Court Culture ◽  
Scottish Gaelic ◽  
Scottish Highlands ◽  
Late 18Th Century ◽  
French Court ◽  
History Of

From the 1950s to the 1970s, two sets of scholars – Tom and Joan Flett, and George Emmerson – gleaned many English-language sources to recover aspects of the history of dance in Scotland. They correctly pointed out the pervasive influence of French court culture and the French-trained dancing masters on Scottish forms of dance, including in the Highlands, but did not examine the majority of potential Gaelic sources in their work. This article examines Scottish Gaelic sources referring to dance practices in the Scottish Highlands from the late-seventeenth century to the end of the eighteenth century, placing them within the context of wider European developments in music and dance and confirming that they demonstrate a consciousness of the strong connections with France and corresponding effects on Gaelic dance traditions.

Slavonic Historical Writing in South-Eastern Europe, 1200–1600

2018 ◽  
Author(s):  
Petre Guran
Keyword(s):  
Seventeenth Century ◽  
Tenth Century ◽  
The Other ◽  
Court Culture ◽  
Southeastern Europe ◽  
Cultural Expression ◽  
New States ◽  
Russian Literary ◽  
South Eastern Europe ◽  
Political Realities

This chapter considers the period from 1200 to 1600 because social and political realities of Southeastern Europe delineate such a delayed chronology. The latter term, beginning in the seventeenth century, marks the end of those medieval societies who used Slavonic for their cultural expression. The other main reason for this chronology is the fact that most of the literary production of ninth- and tenth-century Bulgaria is known through Russian literary activity. The chapter begins with the birth of new states using Slavonic as a cultural language on the territory of Byzantium at the end of the twelfth century. The chronological closing term of this study is marked by the two Romanian principalities, Wallachia and Moldavia, where court culture continued to use a medieval Slavonic dialect up to the beginning of the seventeenth century.

Introduction

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Seventeenth Century ◽  
Print Culture ◽  
Paradise Lost ◽  
Popular Fiction ◽  
Turn Of The Century ◽  
Religious Conflict ◽  
Court Culture ◽  
Time Of Troubles

Part II contextualizes the literary developments of the second half of the seventeenth century, including the changes in education and print culture. The Part examines works of narrative (vision tales, stories, chronicles, saints lives, and autobiography) as responses to the dynastic crisis at the turn of the century, known as the Time of Troubles, and the religious conflict, or the Schism, beginning in the 1660s. Literature closely reflected the gradual disintegration of the narrative of Holy Russia from a paradise to a paradise lost. Humor and escapism were new features developed with the rise of popular fiction based on oral tales. Orthodox proponents of neo-humanist culture from Ruthenia augmented Muscovite court culture by introducing theater and new forms of ceremonial. Poetry as a means of self-expression among the learned also became ensconced among a notable group of clerks in the Moscow chanceries.

Affectionate sister, most faithful friend

2020 ◽  
Vol 70 (1) ◽  
pp. 160-191
Author(s):  
Michele L. Frederick
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Complex Network ◽  
Source Material ◽  
Court Culture ◽  
Self Identity ◽  
Charles I ◽  
King Charles I ◽  
The 1960S ◽  
Large Painting

In May of 1630, the exiled Queen of Bohemia, Elizabeth Stuart, sent a large painting to her brother, King Charles I of England. The work, a now-lost family portrait known since 1966 as Seladon and Astraea, was completed by the Dutch artist Gerrit van Honthorst. That this painting took Honoré d’Urfé’s pastoral romance L’Astrée as its source material has been proposed since the 1960s. This article argues for L’Astrée as an important part of Elizabeth and her husband’s self-identity in exile, and for Honthorst’s painting as a vital and overlooked token of friendship between both Elizabeth and her husband and Elizabeth and her brother. Drawing on early modern and ancient theorizations of friendship, kinship, and marriage as well as Elizabeth, Charles, and her husband Frederick’s letters, this article places Honthorst’s painting at the center of a complex network of reciprocal affection, political machinations, and court culture in the seventeenth century.

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