In June 1300, a procession in honour of Florence's patron saint, San Giovanni, was assaulted by a group of eminent Florentines. For Dino Compagni, the attack was an attempted coup organized by ...Cardinal Matteo d'Acquasparta, papal legate and former general of the Franciscans, and the Black Guelfs. Compagni, however, is the only chronicler to mention it. Nevertheless, his account of the conflict in 1300 shares in common with Giovanni Villani's Nuova cronica a fight that had broken out between the leading families of the factions during a festa on May Day 1300 and some connection with the Guelf victory at Campaldino in 1289. These events and their retellings provide windows into the manipulation of urban space and concepts of political legitimacy through narrative and ritual.
Poole examines the cultural and traditional underpinnings of the processions which culminated in the Peterloo Massacre in Manchester, England on Aug 16, 1919. He notes the way in which radical groups ...of the time built upon customs of the past, and how cultural differences and class warfare figured into the peaceful demonstration.
Like the discourses of the colonial enterprise circulating during the period in which it was commissioned, written, and produced, George Chapman's The Memorable Masque, which was written to celebrate ...the wedding of Princess Elizabeth and the Elector Palatine, registers the nation's conflicted and in many ways incoherent vision of the Jacobean Virginia enterprise. Three satellites of patronage, each with its own colonial investments and ideologies, are given voice: the sponsoring Inns of Court, whose organizers were prominent members of the Virginia Company; the court of the recently deceased Prince Henry, Chapman's patron and a Ralegh‐sympathizer who directed the early course of the marriage festivities; and the court of James I, who established the terms under which the Virginia Company of London operated. Each of the major segments of the entertainment—procession, antimasque, masque, and epithalamium—differently articulates the Virginia colonial project by drawing on the peculiar idioms of the sites of patronage to which Chapman appealed. (P.C.)
This article deals with the continuous flow of resources, values and goods that takes place within a Cape Verdean institution called tabanca. It examines the effects of some practices of the ...so-called Cape Verdean diaspora on local forms of sociality in Santiago's tabancas, in order to show that these flows have a remarkable conservative tendency and contribute to the reproduction of traditional forms of social organization. The Cape Verde I present in this article is at variance with the standard image of the country in current anthropological literature, which approaches social life in the archipelago using analytical tools developed in interdisciplinary fields such as globalization theory and post-colonial, transnational or diasporic studies. Through the ethnographic analysis of the flows within the tabanca, I put the Cape Verde case in the general context of West African political culture to argue that some of its attributes, which appear in literature on transnationalism, diaspora and globalization as the outcome of contemporary transformation, can best be explained in terms of a conservative structural continuity with the political culture that evolved in the northern part of West Africa, known as Senegambia. Cet article traite du flux continu de ressources, de valeurs et de biens au sein d'une institution cap-verdienne du nom de tabanca. Il examine les effets de certaines pratiques de la dite diaspora cap-verdienne sur des formes locales de socialité dans les tabancas de Santiago, afin de montrer que ces flux ont une remarquable tendance conservatrice et contribuent à la reproduction de formes traditionnelles d'organisation sociale. Le Cap-Vert décrit dans cet article se démarque de l'image classique du pays qu'en donne la littérature anthropologique courante, qui aborde la vie sociale dans l'archipel par le biais d'outils analytiques mis au point dans des champs interdisciplinaires tels que la théorie de la globalisation et les études postcoloniales, transnationales ou diasporiques. À travers l'analyse ethnographique des flux dans la tabanca, l'article place le cas du Cap-Vert dans le contexte général de la culture politique d'Afrique de l'Ouest pour affirmer que le meilleur moyen d'expliquer certains de ces attributs, qui apparaissent dans la littérature sur le transnationalisme, la diaspora et la globalisation comme la résultante de la transformation contemporaine, est en termes d'une continuité structurelle conservatrice avec la culture politique qui s'est développée dans la partie septentrionale de l'Afrique de l'Ouest, connue sous le nom de Sénégambie.
Di Laura interviews Filomeno Isidro Ballumbrosio Guadalupe, a native of Peru and also a great percussionist and cajon player. Among other things, Ballumbrisio Guadalupe shares the main lesson that ...his father has taught him and whether he has played with famous musicians.
Marian rituals have been the apex of Christian believers' journey for centuries. Although its research importance in many disciplines, Marian devotion and rituals in Israel have been largely ...neglected. This article outlines several social and religious aspects of 'the public dimension of the ritual'. These aspects include several lines of conflict and strife taking place between a myriad array of socio-ethnic groups: between the Greek Orthodox and the Palestinian Greek Orthodox communities; between the Palestinian Greek Orthodox communities and clergymen; between Palestinian believers and pilgrims; and between the Greek Orthodox and Jews/Muslim believers. This research is based upon a combination of two principal qualitative methodologies: participant observations which took place over a period of three years and in-depth interviews with believers and clergymen. The fieldwork is focused around a procession taking place in the Old City of Jerusalem at the end of August, celebrating Mary's death and resurrection.
The Worcester Art Museum, Massachusetts, preserves an iconographie gem that so far has escaped musicological attention: a monumental oil on canvas capturing a Venetian opera performance in 1702. The ...painting, by Alessandro Piazza, summarizes the fortes and vicissitudes of carnival opera in colourful, even uncompromising fashion. Unfortunately, the picture cannot stand as a straightforward snapshot of operatic history. For whereas the theatre's interior and public can be identified as belonging to the early Settecento, its staging harks back to an illustration in the libretto to Berenice vendicativa (1680), an operatic extravaganza staged at Marco Contarini's private theatre in Piazzola. However, pictorial analysis, combined with contextual research, leads towards the hypothesis that the painter might have idealized a 'try-out' performance of Francesco Gasparini's Tiberio, imperatore d'Oriente (Venice, 1702) at the Teatro Sant'Angelo, in the absence of its dedicatee, Johann Wilhelm of Neuburg-Pfalz (who had the opera revived at his Düsseldorfer Opernhaus in 1703). The Berenice vendicativa print, which had been designed by a court artist of the elector, Domenico Rossetti, appears to have been provided by Berenice's original librettist, Giorgio Maria Rapparini, who at that time served the elector as private secretary. In sum, Piazza's enigmatic vista offers cautionary insights into the interpretational intricacies of operatic memorabilia.
After the death of the Chosŏn Queen Dowager Cho in 1890, a Qing mission arrived in Seoul to present the Guangxu emperor’s letter of condolence. In accordance with established precedent King Kojong ...greeted the envoys outside the city and publicly prostrated before the imperial missive. Western scholars have long understood this event as an illustration of Kojong’s willing submission to the Qing Empire and evidence of the persistence of “traditional” tributary relations into the modern era. The Chosŏn government, however, actively negotiated for months with Qing officials in an ultimately failed effort to cancel the mission. Chosŏn and Qing officials devoted such time and energy in debate not because they were especially concerned with maintaining ancient ritual forms but rather because they were acutely aware of the impact the public display of tributary ritual would have on Western interpretations of Qing claims to imperial dominion over Chosŏn. Despite continual Chosŏn resistance, Qing officials thus planned and executed the condolence mission as a propaganda exercise for Western consumption in order to secure recognition of Qing authority over Chosŏn. This Qing representation of the condolence mission and the tributary relationship in turn has come to inform decades of Western scholarship on late nineteenth-century Chosŏn-Qing relations.
English abstract: No systematic survey of processions in pre-Christian Scandinavian religion has yet been attempted, in line with the lack of research on processions in the Study of Religion more ...generally. This article examines the written, archaeological, and iconographic material and applies Bernhard Lang’s typology of processions in order to describe the functions of the pre-Christian Scandinavian processions. The tentative conclusion it offers is that processions in the pre-Christian North can be divided into two categories: a group of circulatory processions of a predominantly hierophoric type often connected with fertility; and a group of linear processions of a predominantly hierophoric-functional type often connected with funerary rituals.Dansk resume: En undersøgelse af processioner i førkristen nordisk religion er ikke tidligere blevet gjort systematisk ‒ i lighed med den generelle mangel på forskning om processioner i Religionsvidenskaben. Både det skriftlige, arkæologiske og ikonografiske materiale undersøges, og Bernhard Langs processionstypologi benyttes til at beskrive de fundne processioners funktion. Den tentative konklusion er, at processioner i det førkristne Norden kan ses i to grupper: En gruppe af cirkulerende, overvejende hierofore processioner forbundet med frugtbarhed og en anden gruppe af lineære, overvejende hierofor-funktionelle processioner, ofte forbundet med begravelsesritualer.
The Queen obligingly proceeded across the bridge that spanned the lake and the Lady, freed, sailed gratefully over to thank her.4 Devices like Kenilworth' s are notable because they incorporated the ...Queen into an entertainment; the lack of attention they have received is, therefore, curious. Besides E. K. Chambers's glancing reference to sibyls quoted above, the only critic who seems to have noticed the frequency with which scenarios featuring prophecy appeared is Alice S. Venezky in Pageantry on the Shakespearean Stage. "45 The fantasy in this case was the claim that a bond of destiny tied Elizabeth and Kenilworth, Woodstock, or Cowdray together. Because of this relational dynamic, enactment of the prophecy scenario served the interests of both Queen and host. ...I would argue, the devices themselves ultimately did not. Besides establishing a connection between the Queen and an estate, they contributed to the overall magnificence of a visit. ...the entertainment's implicit director, the host, occupied a position of power relative to the Queen.
