Search

Zhu Youdun, the prince of Zhou and the grandson of the Ming founding emperor, wrote and published thirty-one zaju plays. While Zhu Youdun's plays have been well-researched in drama scholarship, their publication, circulation, and textual variations emerging from transmission among different audiences are rarely studied. Situating Zhu Youdun's zaju writing and publishing activities as part of Ming princely publishing, this paper examines and compares two editions of Black Whirlwind Li Spurns Riches Out of Righteousness as a case study, one the printed edition circulating mainly among literati audience/readers and the other the heavily adapted manuscript edition based on inner palace performance for the imperial audience. [ABSTRACT FROM AUTHOR]

This paper studies the succession of power between emperor and crown prince in imperial China as a political game. We begin by developing a model of the succession game that defines the probability of a crown prince being deposed as a function of the strength of the ruling emperor. The model predicts an inverted U-shaped relationship between the probability of crown prince-deposition and the strength of the ruler. We then test the model's implication against the historical evidence. We find that from the Western Han Dynasty to the Ming Dynasty (206 BC–1644 AD), the power of crown princes first increased, then fluctuated and finally decreased. This trend was linearly correlated to changes in relative imperial power. [ABSTRACT FROM AUTHOR]

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The new Pope, Clement VIII., who ascended the throne in 1592, gave the Principality of Transylvania a very important role as an ally of the Habsburg Empire and the Papacy in the war that erupted in 1593 against the Ottoman Empire. When the Transylvanian prince Sigismund Báthory abdicated his throne for the second time in 1598, the papal diplomacy sent a new nuncio, Germanico Malaspina, to support the new ruler of the country, Andrew Báthory. Malaspina’s task was to prevent the principality from leaving the war, to curb the increasing influence of Polish diplomacy on the principality – which [i.e. the Polish- Lithuanian Commonwealth] wanted to extend its power beyond Moldavia to Transylvania and Wallachia, and to prevent the armed intervention of the emperor’s army to dethrone Andrew Báthory. The cardinal was expected by Rome to keep his country in the anti- Turkish alliance and to strengthen the position of Transylvanian Catholicism; moreover, to even spread the faith further into the Orthodox lands with the help of the prince. Even though Malaspina’s diplomatic mission ended in failure, his actions are a clear testimony to the flexibility of papal diplomacy and his independent vision for the region. [ABSTRACT FROM AUTHOR]

In 1634 the Ottoman Emperor, Murad IV (r. 1623-1640), decided to lead a campaign against the Polish-Lithuanian Commonwealth. He wanted to request military support from the Prince of Transylvania, György Rákóczi I (r. 1630-1648), but the prince tried to avoid it, because at that time he had been struggling with his political enemies, who endangered his rule in Transylvania. In the same year, the Habsburgs sent an ambassador (Johann Rudolf von Puchheim) to Constantinople, who tried to dissuade the Sublime Porte from leading a military campaign against the Polish--Lithuanian Commonwealth. The idea of that mediation came from the former Vizier of Buda and at that time, the commander of the Ottoman army, Pasha Murteza, because he did not want this war either. Prince Rákóczi, Puchheim, Trzebiński (Aleksander, the Polish envoy) and Murteza all wanted to stall for time in relation to that campaign. In this article, the author investigates the aims and the problem-solving strategies of the Habsburg, the Transylvanian, the Polish and also the Ottoman elite in that situation. The war against the Polish-Lithuanian Commonwealth did not take place in the end, because Murad IV began a campaign against the Safavid Empire. [ABSTRACT FROM AUTHOR]

Copyright of Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Historica Brunensia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Taiwan Journal of East Asian Studies is the property of National Taiwan Normal University, College of International Studies & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al Malweah for Archaeological & Historical Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Between 1859 and 1867, when Lokrum island was the property of the Austrian Archduke and Emperor of Mexico, Maximilian of Habsburg, a walkway influenced by Spanish promenades known as alamedas, has been constructed in front of his residence. The research is based on the archived material and the authentic bills of quantities, signed by the court gardener Joseph Laube. The Lokrum walkway is Maximilian's original concept. [ABSTRACT FROM AUTHOR]

The article focuses on the condition made by the Princes of India concerning the agreement with the British East India Company to shield the rulers, from the external and internal enemies in return for their own loyalty and military support in India. It is stated that the provisions gave a certain amount of cohesion to the country, under the chaotic conditions which prevailed in the middle of the 19th century, when the Moghul Empire was visibly disintegrating. Therefore, artists were commisioned to paint the portraits of the princess, not only to adorn their own courts, but also to be spent out as apparently well-meant, innocuous gifts to fellow Princes, but actually intended to arouse their envy. The several photographs showing their highness are also provided.