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Добірка наукової літератури з теми "Royal entries and ceremonies"

Автор: Grafiati
Опубліковано: 11 березня 2023

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Статті в журналах з теми "Royal entries and ceremonies"

1

Kisby, Fiona. "“When the King Goeth a Procession”: Chapel Ceremonies and Services, the Ritual Year, and Religious Reforms at the Early Tudor Court, 1485–1547." Journal of British Studies 40, no. 1 (January 2001): 44–75. http://dx.doi.org/10.1086/386234.

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There is general agreement now that the court of Henry VIII and his father wasthecenter of politics, patronage, and power in England. It is also well understood how access to the king—the sole font of that power—and the ability to catch “either his ear or his eye” headed, to a large extent, the agenda of any ambitious courtier. Patronage is a theme that has accordingly dominated the historiography of the Tudor royal household, and indeed this is one of the two major concerns of court historians of the early modern period in general. Ceremony is the second, and the Tudor court has been the focus of study in this respect too, as the work of Jennifer Loach and Sidney Anglo attests. Yet while the occasional ceremonies of state (funerals, coronations, royal entries) and of “spectacles” (revels, pageants, and plays) have been the subject of detailed investigation, those that took place on a regular basis exclusively within the physical confines of the royal houses have received very little attention. Consequently historians have failed to notice a fundamental fact of which all courtiers were aware: that, by the early Tudor period and quite probably well before, the weekly routine of ceremony at the English court was structured by the liturgical calendar and thus dominated by religious culture.It is possible that this historiographical lacuna has arisen because the history of the chief organ of religious ceremonial in the royal household—the chapel royal—has largely been neglected.
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2

Rodríguez, Ana. "Royal Entries in Conquered Towns. Mosques, Cathedrals and the Power of Buildings (Castile-Leon, 11th-13th Centuries)." Culture & History Digital Journal 11, no. 2 (November 16, 2022): e016. http://dx.doi.org/10.3989/chdj.2022.016.

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Written sources of the kingdoms of Castile-Leon describing processions and royal entries in the 11th-13th Centuries are not commonly found. The absence of such ceremonies makes it difficult to recognize the topography of power through remarkable buildings as well as the hierarchies among their ecclesiastical and secular participants. This absence prevented the kings of Castile and Leon from being seen publicly and visiting some iconic processional spots which provided the right atmosphere for the most solemn rituals in a medieval monarch’s life. King Alfonso VI’s entry into Toledo in 1085 set a new precedent put into practice by his successors during the Christian conquests of al-Andalus cities, which took place until the mid-13th Century. The transformation of the congregational mosques in the conquered cities provided a unique opportunity for victorious monarchs to display their power through the appropriation of urban spaces. The king’s central role in the ecclesiastical rituals of purification and the subsequent control over the fate of the most representative buildings allow these processions to be considered as spatial and ritual phenomena.
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3

Goodall, John A. "Some Aspects of Heraldry and the Role of Heralds in Relation to the Ceremonies of the Late Medieval and Early Tudor Court." Antiquaries Journal 82 (September 2002): 69–91. http://dx.doi.org/10.1017/s000358150007373x.

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The present study arose from the need to provide the background for understanding theheraldry mentioned in the post-mortem inventories of Henry VIII, and while it seems unlikely that this commentary will appear in the foreseeable future it fills agap in the heraldic literature. The role of the ‘British History’ in English royal propaganda and state ceremonials antedated the accession of Henry VII as is evidenced by the material prepared in relation to Edward IV's supersession of Henry VI in 1461. The role of heralds and kings of arms in rationalizing the arms and beasts required for the pageants etc is examined with the ways in which it was organized for entries and other ceremonials. The period also witnessed the introduction of new decorations f ortournaments – ciphers and impresses. The appendices provide editions of some hitherto unpublished texts which were devised for these purposes.
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4

Knighton, Tess, and Carmen Morte García. "Ferdinand of Aragon's entry into Valladolid in 1513: The triumph of a Christian king." Early Music History 18 (October 1999): 119–63. http://dx.doi.org/10.1017/s0261127900001856.

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These lines adorned one of the triumphal arches built in honour of Ferdinand of Aragon's ceremonial entry into Valladolid on 5 January 1513. This event, like so many other such entries throughout Europe during the sixteenth century, was intended to recall the Triumphs of the Roman emperors, though it was also embedded in a long-established entry ritual. The ephemeral buildings all'antica, the apparati, street decorations, pageants with allegorical, mythological and historical figures, as well as music and dancing of various kinds all formed part of a royal spectacle devised according to the political process of image-making.
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5

Raufast Chico, Miguel. "Ceremonia y conflicto: Entradas reales en Barcelona en el contexto de la Guerra Civil Catalana (1460-1473)." Anuario de Estudios Medievales 38, no. 2 (November 25, 2008): 1037–85. http://dx.doi.org/10.3989/aem.2008.v38.i2.94.

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6

Mills, David. "Chester ceremonial: re-creation and recreation in the English ‘medieval’ town." Urban History 18 (May 1991): 1–19. http://dx.doi.org/10.1017/s0963926800015959.

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During the last two decades the interests of scholars of early drama and of urban historians have found common ground in the study of urban celebration and ceremonial. For the student of early drama the beginnings of this interest coincided with a redefinition of the area and nature of the study of early drama, a shift in emphasis from the textual and literary problems of the few extant dramatic texts to the circumstances and conditions of their performance. Signalled in the mid-1950s by F.M. Salter's revealing study of the production of Chester's Whitsun plays, this movement gained impetus from Glynne Wickham's investigations of the development of English stagecraft between 1300 and 1660, the first volume of which appeared in 1959, which illustrated the interdependence of a range of ostensibly disparate activities, such as plays, royal entries and tournaments. Then, in the 1970s an iconoclastic challenge to traditional theories about the staging of mystery plays was mounted by Alan H. Nelson, drawing upon various local records, and from the resulting controversies was born a new initiative, the Records of Early English Drama, whose avowed purpose is ‘to find, transcribe, and publish external evidence of dramatic, ceremonial, and minstrel activity in Great Britain before 1642’. That series is still ongoing and already constitutes a major primary resource of regional documentary transcripts for all interested in early dramatic and quasidramatic activity, suggesting a hitherto unsuspected diversity and frequency of dramatic activity throughout England.
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Berlin, Michael. "Civic ceremony in early modern London." Urban History 13 (May 1986): 15–27. http://dx.doi.org/10.1017/s0963926800007975.

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The ceremonial life of the early modern town has emerged as an important area of study for urban historians. Ever since the publication of Charles Phythian-Adams' innovative study, attention has focused on the elaborate series of processions, pageants and rites of passage which were a constant feature of the yearly cycle of town life. In the wake of his work other studies of the ceremonial life of late medieval and early modern towns have added to the urban historian's awareness of the importance of ritualized forms of behaviour as a symbolic thread which helped bind together the social fabric of the townscape. The research done thus far forms one of those areas of scholarship in which the cross-fertilization of the interdisciplinary approach, so beloved of the ‘new’ urban history, has proved particularly fruitful. It might be surprising then that London, the largest of English towns, has yet to receive similar treatment. There have been, of course, several important studies of the capital in the early modern period, and they have something to say about the ceremonial life of the city. These have largely concentrated on topics such as the structure of government, the nature of London's ruling elite, and social mobility within the city's craft organizations. While providing important sidelights on ceremony, these treatments have tended to place ceremonial events in the background, as the ‘icing on the cake’. At the same time there have been many important studies by art and literary historians of ceremonial occasions such as coronations, royal entries or the Lord Mayors' Shows, but these have tended to concentrate on ceremony as an expression of dynastic propaganda or as a development in dramatic form rather than as part of the social history of the city. The object of this article will be to attempt to rectify this gap in our knowledge by applying some of the framework bequeathed by Phythian-Adams, and so try to assess the relevence of his conclusions about urban society in this period to the particular case of London.
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8

Ramos, Frances L. "Succession and Death: Royal Ceremonies in Colonial Puebla." Americas 60, no. 2 (October 2003): 185–215. http://dx.doi.org/10.1353/tam.2003.0108.

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On 6 March 1701, the municipal government of Puebla de los Angeles received a cédula commanding the performance of an oath ceremony, orjura del rey, for the new Bourbon monarch, Philip V. Twelve days later, a second cédula arrived, ordering the celebration of royal funerary honors, orexequias reales, for the last Spanish Habsburg king, Charles II. Puebla's municipal leaders, orregidores, attributed great importance to public ceremony and began planning for the events immediately upon receiving Queen Mariana's instructions. Like the political elites of many early modern cities, Puebla's councilmen consistently dedicated a significant share of the city's resources to mount spectacles to commemorate such events as viceregal entrances, patron saints’ days, royal births and marriages, and Spanish military victories. These occasions provided local leaders with opportunities to instruct the populace in the authority of the king's primary representative, the primacy of the Catholic faith, the power of the city's leaders, the importance of hierarchy in colonial society, and the loyalty due the royal family and the Spanish Empire.
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9

Borkowska, Urszula. "The Funeral Ceremonies of the Polish Kings from the Fourteenth to the Eighteenth Centuries." Journal of Ecclesiastical History 36, no. 4 (October 1985): 513–34. http://dx.doi.org/10.1017/s0022046900043980.

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Coronations, grand royal entrances and the ceremonies of royal burials were public manifestations of the ‘sacra maiestas regia’. The Polish ceremonies had close parallels in other European monarchies, and also their own special features. The rites formed a symbolic drama with social and political overtones; they were needed to preserve order in the human community. Recent studies in this region have brought interesting results, especially when seen in a long perspective of time and with due contemplation of the mentality and attitudes behind the outward show.
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10

Watanabe-O’Kelly, Helen. "Writing royal entries in early modern Europe." Seventeenth Century 29, no. 4 (September 23, 2014): 418–19. http://dx.doi.org/10.1080/0268117x.2014.953566.

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Дисертації з теми "Royal entries and ceremonies"

1

區展秋 and Chin-chau Joseph Au. "Special rituals and their significance in the Royal Hong Kong Police Force." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31977571.

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2

Duch, Anna Maria. "The royal funerary and burial ceremonies of medieval English kings, 1216-1509." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13700/.

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When Ernst Kantorowicz published The King’s Two Bodies in 1957, far greater importance was placed upon the body politic, the office of King, than on the body natural, the king as a man. In part, this thesis sets out to overturn this notion: the royal corpse was the central and most vital element of the royal funerary and burial ceremonies, and concern for the royal body and its soul lasted for centuries. Although the King always lived, the mortal king did not become inert or null upon death. The English royal funeral has been understudied. The practical mechanics of English kings’ funerals (including the preservation of the body, the role of the Church, and the events of the ceremonies) have not been laid out clearly. This thesis seeks to update the analysis of both individual kingly funerals and the overarching development of royal exequies over three centuries, from John in 1216 to Henry VII in 1509. It is my argument that the language used in the royal prescriptive funerary and burial texts permitted individual variation based on personal preferences, the unique circumstances of the death, and the requirements of the Church for a Christian burial. The royal prescriptive texts were elastic, enabling a wide variety of kings during the medieval period to be laid to rest fittingly and honorably, according to their station. These prescriptive texts did not cover commemoration, an omission that allowed flexibility in celebrating the legacy of a deceased king. In special cases, the living elected to rebury the dead, be it for practical reasons or to enhance the legacies of both parties. The ceremonies and the ensuing commemoration, combined with a pronounced preference for burial in England for members of the royal house, formed an English royal way of death.
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3

Bourassa, Kristin. "Fforto tellen alle the circumstaunces: The royal entries of Henry VI (1431--32) and their manuscripts." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28761.

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In 1429, the seven-year-old Henry VI was crowned king of England. He was crowned king of France in Paris in December 1431, a few days after his tenth birthday. Part procession, part spectacle, the civic-organized royal entries accompanying these events began with the greeting of the king by the city's officials outside the gates. The king was then led through the city, stopping to view pageants---often described by contemporaries as "mysteries"---along the procession route. The only king to be crowned in England and France, Henry VI was also the only ruler to make royal entries as king into both London and Paris. This study examines both entries, considering the events themselves as well as the documents describing them. It asks, what was the function of the event of the fifteenth-century royal entry in Paris and London, as well as of the documents describing these events? It considers royal entries on both sides of the Channel from the perspectives of both history and literature, combining an examination of these entries and their manuscripts for the first time. These descriptions were produced by fifteenth-century writers for a fifteenth-century audience, and were as much a part of the royal entry as was the procession through the city. This study argues that civic officials used both the format of the royal entry itself and the written descriptions of entries to promote their city's interests. Both London and Paris royal entry organizers used the event as a form of negotiation with the visiting king, an opportunity to express the city's expectations to the ruler. Although the themes and routes of successive entries could appear similar, the speeches and signs explaining individual pageants expressed very different sentiments. In London, civic officials used the documents describing entries to elevate their city, creating pro-London descriptions that were circulated in London-centric manuscripts. They deliberately used royal entry descriptions to promote their city.
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4

Murphy, Neil William. "Receiving royals in Later Medieval and renaissance France : ceremonial entries into northern French towns, c. 1350-1570." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/3665/.

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This thesis explores ceremonial entries in Renaissance France from the perspective of the townspeople who designed and produced them. Existing studies of French entries have tended to see them as expressions of monarchical power, with townspeople coming in submission before the majesty of the king. In contrast, this thesis demonstrates that ceremonial entries were nuanced civic ceremonies which demonstated urban pride and power. Chapter 1 details the weeks of preparations that went into staging a civic reception and the townspeople’s numerous efforts to ensure that the entry was a success. Chapter 2 examines the extramural greeting, where the civic council and other notables came out of the town in procession to greet the visitor and make the formal welcoming speech. The extramural greeting was an important part of the ceremony, as it was the first point of personal contact between the urban elite and the dignitary. The intramural procession is discussed in chapter three. During this part of the ceremony, the dignitary entered through the town gate and processed through the streets until they reached the town’s principal church, where a short service was held. The urban fabric was decorated with flowers, linens, triumphal arches and other decorative structures, while theatrical performances were staged along the length of the processional route. The streets were thronged with ordinary townspeople who had come to both watch and participate in the ceremony. Chapter 4 is concerned with the post-entry festivities, which included banquets, further processions and jousting. The exchange of gifts between the royal guest and the town council was an important element of the post-entry ceremonies, as it was the occasion when the civic councillors could win significant new economic grants for the crown in return for providing a valuable item of silverware.
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5

Au, Chin-chau Joseph. "Special rituals and their significance in the Royal Hong Kong Police Force." [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13781145.

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6

Bophary, Va Manop Wisuttipat. "Pithi Sampeah Kru Phleng Mahori at the Royal University of Fine Arts, Cambodia /." Abstract, 2008. http://mulinet3.li.mahidol.ac.th/thesis/2551/cd414/4837960.pdf.

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7

Suriano, Matthew James. "The formulaic epilogue for a king in the Book of Kings in the light of royal funerary rites in ancient Israel and the Levant." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679385691&sid=32&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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8

Dean, Lucinda H. S. "Crowns, wedding rings, and processions : continuity and change in representations of Scottish royal authority in state ceremony, c.1214-c.1603." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/20198.

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This inter-disciplinary thesis addresses the long term continuity and change found in representations of Scottish royal authority through state ceremonial bridging the gap between medieval and early modern across four centuries. Royal ceremony in Scotland has received very haphazard research to date, with few attempts to draw comparisons that explore how these crucial moments for the representation of royal authority developed over the course of a number of centuries. Three key royal ceremonies – inaugurations/coronations, funerals and weddings (with consort coronations) – form the core of this study of the Scottish monarchy from c.1214 to c.1603, and were chosen due to their integral position in the reign of each monarch. The issues of succession and security of hereditary monarchy dictate that the ceremonies of death and accession are inescapably intertwined, and funerals and coronations have been studied in unison together for other European comparators. However, the frequency of minor accessions, early and violent deaths, absentee kingship and political upheaval in Scotland across the time period determined from an early stage that weddings – often the first occasion for Scottish monarchs to project their personal adult authority and the point at which Scotland had the widest European audience for their display – were essential to forming a rounded view of developments. By offering a detailed analysis of these ceremonial developments across time, this study will provide the framework from which further research into royal ceremony and its place as essential platform for the dissemination of royal power can be undertaken. The thesis focuses upon key questions to illuminate the developments of these ceremonies as both reflectors of a distinct Scottish royal identity and representative of their integration within a broader European language of ceremony. How did these ceremonies reflect the ideals of Scottish kingship? How were they shaped to function within the parameters of Scottish governance and traditions? How was the Scottish crown influenced by other monarchies and the papacy? How did it hope to be perceived by the wider European community and how was royal power exercised over its subjects in this transitional period of Scottish history? The focus upon Scotland’s visual forays on the international stage and varied relations with European actors has required a continual comparison with other European countries across this time period, with particular attention being paid to England, France, Ireland and the Low Countries. Within the context of a highly public and interactive era of display and posturing by great leaders across Europe, crucial points this thesis engages with include: what made the Scottish ceremonies unique? And how can this further our understanding of that which lay beneath such representations of royal authority?
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9

Levy, Tania. "« Mystères » et « joyeusetés » : les peintres de Lyon autour de 1500." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040128.

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Esquisser le portrait de la commaunauté des peintres lyonnais, entre le début du règne de Louis XI (1461) et la crise de la fin des années 1520, a constitué le présupposé de cette recherche. Le recours aux sources (comptables, fiscales et ecclésiastiques) s’est révélé indispensable à l’étude prosopographique et à une démarche d’histoire sociale de l’art, permettant la localisation des peintres, de leurs ateliers, les quelques filiations, leur place enfin (fortune et position sociale) dans la cité. Mais au-delà de cette première approche, l’étude des commanditaires, personnages capitals de la production artistique, a permis de définir plus finement le visage de la pratique picturale lyonnaise. Entre notables, Consulat, ecclésiastiques et rois, les activités de commande dans la ville ont souligné l’absence de grands chantiers et de grandes commandes dans ces décennies de prospérité croissante. Ce sont donc les fêtes, au premier rang desquelles les entrées royales et solennelles, qui mobilisent les forces économiques, littéraires et évidemment artistiques. L’étude des protagonistes de ces cérémonies royales et urbaines comme des thèmes déployés permet de caractériser de façon plus précise l’articulation entre artistes, commanditaires et cité comme d’approfondir la connaissance sur la pratique des peintres, en effet mieux détaillée dans ce cadre
To sketch the portrait of the painters’ community of Lyon, between the beginning of the reign of Louis XI (1461) and the crisis of the end of 1520s, was the presupposition of this research. The appeal to sources (accounts, taxes and from ecclesiastic origin) showed itself essential to the study of painters and to the approach of social history of the art, allowing the location of them, their workshops, the some filiations, their place finally (fortune and social position) in the city. But beyond this first approach, the study of the patrons, major characters of the artistic production, allowed to define more finely the face of the pictorial practice of Lyon. Between notables, consuls, Consulate, clerics and kings, the activities of command in the city underlined the absence of big construction sites and big orders in these decades of increasing prosperity. They are thus the festivals, in the front row of which the royal and solemn entries, which mobilize the economic, literary and obviously artistic strengths. The study of the protagonists of these royal and urban ceremonies as spread themes allows to characterize in a more precise way the articulation between artists, patrons and city as to deepen the knowledge on the practice of the painters, indeed better known by this way
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OGGIANO, ELEONORA. "Rethinking royal spectacle in Elizabethan and Jacobean England." Doctoral thesis, 2012. http://hdl.handle.net/11562/399536.

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La tesi prende in esame gli intrattenimenti regali offerti a Elisabetta I, a Giacomo I Stuart e sua moglie Anna, in un periodo tra 1559 e il 1613. A quel tempo, varie forme di spettacolo venivano impiegate per celebrare ed intrattenere il sovrano, sia all’interno della corte che fuori. Considerando la diffusione di questi ‘spettacoli regali’ come un fenomeno che ha fortemente caratterizzato entrambi i periodi, scopo precipuo di questo studio sarà quello di indagarne lo sviluppo dall’epoca Elisabettiana a quella Giacomiana concentrandosi soprattutto sull’analisi del complesso rapporto fra ‘script’ e ‘testo spettacolare’. Fulcro dell’indagine saranno gli intrattenimenti organizzati in occasione della cerimonia d’entrata nella capitale del sovrano, come pure quelli allestiti durante i soggiorni estivi in provincia, ossia presso alcune città, le Università e le dimore della nobiltà. Attraverso la disamina congiunta di differenti tipologie di testo, fra le quali, ‘scripts’, lettere, dispacci e estratti da resoconti storici coevi, ciascun capitolo si propone di analizzare vari intrattenimenti, singolarmente o in gruppo, ponendo particolare attenzione al loro contesto ‘spettacolare’, al fine di tracciarne le modalità performative che li caratterizzano e individuare le diversità o corrispondenze nel passaggio da un’epoca all’altra. Partendo dal presupposto che questi intrattenimenti espongono il sovrano come ‘oggetto visibile’ e fulcro della performance ideando una ‘messa in scena’ intimamente legata a questioni ideologiche e politiche, l’indagine si offre inoltre di esaminare la complessa trama di riferimenti e allegorie che hanno contribuito a creare una sofisticata simbologia del potere regale attraverso la rappresentazione su vari scaffolds urbani e regionali di questa particolare categoria di spettacoli rinascimentali.
This thesis focuses on the outdoor entertainments staged before Queen Elizabeth, King James Stuart and his wife, Queen Anne, over a period of fifty years. This was a time when different pageant shows were mounted to celebrate and entertain the monarchs, both inside and outside the court. The aim of this study is to trace the development of royal pageantry in Elizabethan and Jacobean England by investigating the complex text/stage relationship pertaining to such multifaceted forms of spectacle. Special attention will be paid to civic ceremonies, entertainments on progress, at the Universities and at aristocratic country houses. Although these performances took place within a broader entertainment culture and were organized for diverse occasions, they were set up as ‘shows in progress’ which had at their centre a royal guest who often figured as both spectator and performer. The focus is on a variety of ceremonial events, whose analysis first aims at shedding light on the structure of their textual accounts in order to understand how these ‘shows’ were staged and identify their performative features. By gathering together different textual accounts, such as printed publications of urban processions, outdoor shows and court masques, as well as dispatches, letters, and historical records, each chapter undertakes a close reading of one particular royal spectacle with the aim to reconstruct its staging by drawing attention to its performative context. Since these ‘royal triumphals’ are especially concerned with the notion of sovereign power, special emphasis will be laid on the type of iconography which is textually inscribed in the entertainment script and visually displayed through its performance by concentrating on the relationship between of verbal text and visual display. A focus on these issues allows to build up a picture of the staging of these outdoor performances in the transition from Elizabethan to Jacobean entertaining culture, by highlighting their different or equivalent stage practices.
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Книги з теми "Royal entries and ceremonies"

1

Les entrées solennelles pendant le règne de Charles IX. New York: Legas, 2007.

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2

Canova-Green, Marie-Claude, Jean Andrews, and Marie-France Wagner, eds. Writing Royal Entries in Early Modern Europe. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.5.105995.

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3

Maxwell, Hope. Festivals, royal entries and drama in Aragonese Naples. Manchester: University of Manchester, 1993.

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4

Thailand. Khana Kammakān ʻĒkkalak khō̜ng Chāt., ed. The Royal ceremonies, past and present. Bangkok, Thailand: National Identity Board, Office of the Prime Minister, 1990.

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5

Metzger, Horst. Festivals and ceremonies observed by the Royal Family of Kotha. Zürich: Museum Rietberg, 2000.

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6

Metzger, Horst. Festivals and ceremonies observed by the Royal Family of Kotha. Zürich: Museum Rietberg, 2000.

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7

1908-, Güterbock Hans G., and Hout, Theo P. J. van den., eds. The Hittite Instruction for the royal bodyguard. Chicago, Ill: Oriental Institute of the University of Chicago, 1991.

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8

Royal occasions: Watercolours and drawings. London: Michael O'Mara, 1992.

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9

Royal occasions: Watercolours and drawings. New York: Crown Publishers, 1992.

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10

The royal way of death. London: Constable, 1986.

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Частини книг з теми "Royal entries and ceremonies"

1

Valman, Bernard. "Regalia and Ceremonies." In From an Association to a Royal College, 37–42. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43582-4_3.

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2

Hüsken, Wim. "Royal Entries in Flanders (1356-1515)." In Burgundica, 37–42. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.burg-eb.3.4561.

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3

Cooper, Richard. "French Royal Entries and the Antique (1515–65)." In Writing Royal Entries in Early Modern Europe, 153–76. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00030.

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Canova-Green, Marie-Claude. "Preface." In Writing Royal Entries in Early Modern Europe, xi—xviii. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00022.

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5

Visentin, Hélène. "The Material Form and the Function of Printed Accounts of Henri II’s Triumphal Entries (1547–51)." In Writing Royal Entries in Early Modern Europe, 1–30. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00023.

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6

Wagner, Marie-France. "Le Statut textuel de l’entrée royale ou solennelle sous le règne d’Henri IV: le cas particulier de l’entrée du roi à Moulins en 1595." In Writing Royal Entries in Early Modern Europe, 31–49. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00024.

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Nassichuk, John. "Les Inscriptions poétiques du livret de Jacques de Cahaignes et l’éloge latin du duc de Joyeuse lors de son entrée solennelle à Caen (1583)." In Writing Royal Entries in Early Modern Europe, 51–69. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00025.

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Aliverti, Maria Ines. "Travelling with a Queen: The Journey of Margaret of Austria (1598–99) between Evidence and Reconstruction." In Writing Royal Entries in Early Modern Europe, 71–92. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00026.

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9

Sánchez Cano, David. "(Failed) Early Modern Madrid Festival Book Publication Projects: Between Civic and Court Representation." In Writing Royal Entries in Early Modern Europe, 93–111. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00027.

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10

Samson, Alexander. "Images of Co-Monarchy in the London Entry of Philip and Mary (1554)." In Writing Royal Entries in Early Modern Europe, 113–27. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.eer-eb.4.00028.

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Тези доповідей конференцій з теми "Royal entries and ceremonies"

1

Ondříčková, Marie. "Churritský hymnus H6 – nejstarší píseň na světě." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-78-96.

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Анотація:
The article was focused on the oldest description of the song on the world. In the paper was analysed content of the note score and introduced its some of translations. It also mention about its place of discovery and its discov erers. The notation was found in the North Syria at area Latákíja in Ras-as-Shamrá in the west-south royal pal ace and its courtyards. Around 1500–1158 BC there was well-known economical and cultural advanced center Ugarit with rich existing musical tradition. Some written sources put accent the temple´s singers and musicians the framework religious ceremonies. The problem of the cuneiform tablet rests on damaged some of parts, that they are not possible to translate exactly. In the tablet there are numbers whose meaning is not understandly. Today we have not to disposition only one transcription because experts are not in concordance of their metod ology and this reason why individual translations are significant different so much.
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