From Royal Household to Royal Court: Patronage as a Political Strategy

1987 ◽  
Vol 19 (1) ◽  
pp. 1-11 ◽  
Author(s):  
William J. Tighe

The band of gentlemen pensioners, a body which, diminished in size and its functions altered almost beyond recognition, still survives at the English royal court under the title of “The Honourable Corps of Her Majesty's Gentlemen at Arms,” was instituted on Christmas Eve 1539 as part of a reform of the royal household. The group was a revival of the “spears” or “spears of honour,” an elite, sumptuously-outfitted royal bodyguard of gentlemen founded by Henry VIII in 1509, shortly after his accession, which appears to have lapsed in 1515 or 1516, because of the great charges involved in their maintenance, according to Hall's chronicle. The revived group was provided for in a rather more modest manner than its predecessor had been, but its members served much the same purposes. They were the king's elite bodyguard, his personal companions in arms when he went to war, the principal participants in tournaments and other martial sports at court and, more generally, a courtly and military finishing school for the sons of nobility and gentry.From 1540 until 1670, when the band underwent its first reduction in size, its structural organization remained unchanged in all essentials. It consisted of fifty men and five officers, a captain, lieutenant, standard-bearer, clerk of the check and harbinger. The last two were ancillary offices, the keeper of the “check-list” or attendance roll and his deputy, and were not strictly speaking members of the corps, but its servants. The lieutenant and the standard-bearer were normally men who had served for a time as gentlemen pensioners before being appointed to these offices, while the captain, on the contrary, was a figure of some importance at court in his own right, and one who had not previously served in the band. After the death of the first captain, Sir Anthony Browne, Henry VIII's master of the horse, in 1548, subsequent captains under the Tudor and early Stuart monarchs were all peers and almost always held other great offices of state. Browne's successor, William Parr, marquess of Northampton, was Edward VI's lord chamberlain; he lost all of his offices and titles on Mary's accession and was lucky to escape with his life. Thomas Radcliffe, lord Fitzwalter, later earl of Sussex, succeeded him in the captaincy, holding it continuously until his death in 1583. From 1572 he held the office of lord chamberlain to the queen. His Elizabethan successors in the captaincy, the first and second lords Hunsdon, father and son, the queen's kinsmen, also held the lord chamberlainship.


2014 ◽  
Vol 11 (2-3) ◽  
pp. 370-377
Author(s):  
Brian McFarlane

On stage, Lindsay Anderson directed ten plays by David Storey, who also wrote the novel on which This Sporting Life is based. Anderson directed Storey's In Celebration both in the theatre, at the Royal Court in 1969, and on television, for the American Film Theatre in 1975. Although it focuses primarily on the television version of In Celebration, a work which is all too often neglected in critical discussions of Anderson's output, this article examines Anderson as a director for both stage and screen, and also explores the numerous significant links between Storey's and Anderson's oeuvres.


Somatechnics ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 185-200
Author(s):  
Natalie Kouri-Towe

In 2015, Queers Against Israeli Apartheid Toronto (QuAIA Toronto) announced that it was retiring. This article examines the challenges of queer solidarity through a reflection on the dynamics between desire, attachment and adaptation in political activism. Tracing the origins and sites of contestation over QuAIA Toronto's participation in the Toronto Pride parade, I ask: what does it mean for a group to fashion its own end? Throughout, I interrogate how gestures of solidarity risk reinforcing the very systems that activists desire to resist. I begin by situating contemporary queer activism in the ideological and temporal frameworks of neoliberalism and homonationalism. Next, I turn to the attempts to ban QuAIA Toronto and the term ‘Israeli apartheid’ from the Pride parade to examine the relationship between nationalism and sexual citizenship. Lastly, I examine how the terms of sexual rights discourse require visible sexual subjects to make individual rights claims, and weighing this risk against political strategy, I highlight how queer solidarities are caught in a paradox symptomatic of our times: neoliberalism has commodified human rights discourses and instrumentalised sexualities to serve the interests of hegemonic power and obfuscate state violence. Thinking through the strategies that worked and failed in QuAIA Toronto's seven years of organising, I frame the paper though a proposal to consider political death as a productive possibility for social movement survival in the 21stcentury.


2019 ◽  
Vol 62 (7) ◽  
pp. 110-123
Author(s):  
Vladimir Y. Bystrov ◽  
Vladimir M. Kamnev

The article discusses the attitude of Georg Lukács and his adherents who formed a circle “Techeniye” (lit. “current”) toward the phenomenon of Stalinism. Despite the political nature of the topic, the authors are aspired to provide an unbiased research. G. Lukács’ views on the theory and practice of Stalinism evolved over time. In the 1920s Lukács welcomes the idea of creation of socialism in one country and abandons the former revolutionary ideas expressed in his book History and Class Consciousness. This turn is grounded by new interpretation of Hegel as “realistic” thinker whose “realism” was shown in the aspiration to find “reconciliation” with reality (of the Prussian state) and in denial of any utopias. The philosophical evolution leading to “realism” assumes integration of revolutionaries into the hierarchy of existing society. The article “Hölderlin’s Hyperion” represents attempt to justify Stalinism as a necessary and “progressive” phase of revolutionary development of the proletariat. Nevertheless, events of the second half of the 1930s (mass repressions, the peace treaty with Nazi Germany) force Lukács to realize the catastrophic nature of political strategy of Stalinism. In his works, Lukács ceases to analyze political topics and concentrates on problems of aesthetics and literary criticism. However, his aesthetic position allows to reconstruct the changed political views and to understand why he had earned the reputation of the “internal opponent” to Stalinism. After 1956, Lukács turns to political criticism of Stalinism, which nevertheless remains unilateral. He sees in Stalinism a kind of the left sectarianism, the theory and practice of the implementation of civil war measures in the era of peaceful co-existence of two systems.


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