An Imperial Court

2022 ◽  
pp. 312-350
Keyword(s):  
Author(s):  
Judith Herrin

This book explores the exceptional roles that women played in the vibrant cultural and political life of medieval Byzantium. This book evokes the complex and exotic world of Byzantium's women, from empresses and saints to uneducated rural widows. Drawing on a diverse range of sources, the book sheds light on the importance of marriage in imperial statecraft, the tense coexistence of empresses in the imperial court, and the critical relationships of mothers and daughters. It looks at women's interactions with eunuchs, the in-between gender in Byzantine society, and shows how women defended their rights to hold land. The book describes how women controlled their inheritances, participated in urban crowds demanding the dismissal of corrupt officials, followed the processions of holy icons and relics, and marked religious feasts with liturgical celebrations, market activity, and holiday pleasures. The vivid portraits that emerge here reveal how women exerted an unrivalled influence on the patriarchal society of Byzantium, and remained active participants in the many changes that occurred throughout the empire's millennial history. The book brings together the author's finest essays on women and gender written throughout the long span of her career. This volume includes three new essays published here for the very first time and a new general introduction. It also provides a concise introduction to each essay that describes how it came to be written and how it fits into her broader views about women and Byzantium.


Author(s):  
Harry White

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.


2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.


2020 ◽  
Author(s):  
John Breen ◽  
Maruyama Hiroshi ◽  
Takagi Hiroshi

Draws on archive of material, a first in English to take an in-depth look at Kyoto’s modern transformation – its reinvention after ‘collapse’ (Meiji Restoration) and relocation of the imperial court to Tokyo. Includes: introduction, chapters on notable historical elements that sustain Kyoto as a quintessentially modern ‘ancient capital’ today.


2016 ◽  
Vol 8 (2) ◽  
pp. 148 ◽  
Author(s):  
Jason Qu

<p class="1Body">Despite of strong economy including highest GDP gross and self-sufficient feudal economy system, the late Qing Empire fell behind the world trend with its isolationist trade policies. As the Western world caught up technologically, economically, and politically, the former biggest economy had suffered from consecutive losses in wars. In order to preserve the feudal regime, the initiative reform, termed the Self Strengthening Movement was grandly carried out. However, without the true support from the supreme power on one hand, and without the support of the populace on the other, the Movement was an intermediate reform in attempt to preserve the royal system and forestall its continued decline. In policy, the reforms envisioned Western-style modernization without adjusting the political order, yet the entrenched conservatism of the Qing Imperial Court proved to be the decisive hindering factor in the failure of the Movement.</p>


2012 ◽  
Vol 6 (1-2) ◽  
pp. 22-41 ◽  
Author(s):  
Jieh Hsiang ◽  
Shih-Pei Chen ◽  
Hou-Ieong Ho ◽  
Hsieh-Chang Tu

The Qing Imperial Court documents are a major source of primary research material for studying the Qing era China since they provide the most direct and first-hand details of how national affairs were handled. However, the way Qing archived these documents has made it cumbersome to collect documents covering the same event and rebuild their original contexts. In this paper, we describe some information technology that we have developed to discover two important and useful relations among these documents. The first is the citation relation among the Imperial Edicts and the Memorials. We discovered 6,801 pairs from the 37,831 Taiwan-related Imperial Court documents in the Taiwan History Digital Library (THDL) and produced 1,101 graphs of successive citations, which we call IE-M diagrams. The second relation is a template relation, which indicates groups of documents that were created following a specific format. Numerical data can also be tabulated from these documents and be used for further analysis. Our studies show how information technology can be used to discover useful contexts from seemingly unrelated historical documents.


Traditio ◽  
1993 ◽  
Vol 48 ◽  
pp. 1-29 ◽  
Author(s):  
Andrew Gillett

Olympiodorus of Thebes is an important figure for the history of late antiquity. The few details of his life preserved as anecdotes in hisHistorygive glimpses of a career which embraced the skills of poet, philosopher, and diplomat. A native of Egypt, he had influence at the imperial court of Constantinople, among the sophists of Athens, and even outside the borders of the empire. HisHistory(more correctly, his “materials for history”) is lost, surviving only as fragments in the narratives of Zosimus, Sozomen, and Philostorgius, and in the rich summary given by the ninth-century Byzantine patriarch Photius. These remains comprise the most substantial narrative sources for events in the western Roman Empire in the early fifth century. Besides its value as a source, theHistoryis important as a monument to the vitality of the belief in the unity of the Roman Empire under the Theodosian dynasty. Olympiodorus wrote in Greek, and knowledge of his work is attested only in Constantinople, yet his political narrative, from 407 to 425, concerns only events in the western half of the empire. To understand the significance of these facts, it is necessary to set the composition of Olympiodorus's work in its proper context. Clarifying the date of publication is the first step toward this goal. Internal and external evidence suggests that the work was written in 440 or soon after, more than a decade later than the date of composition usually accepted. Taken with thematic emphases evident in the structure of theHistory, this revised dating explains why an eastern writer should have written a detailed account of western events in the early part of the century. Olympiodorus's account is a characteristic product of the highly literate class of eastern imperial civil servants, and of their genuine preoccupation with the relationship between the eastern and western halves of the Roman Empire at a time when both were threatened by the rise of the new Carthaginian power of the Vandals.


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