From public executions to religious processions to political festivities, Toulouse's ceremonial life was remarkably rich in the decades prior to the French Revolution. In an engaging portrait that conveys this provincial city in all its splendor and misery, Robert Schneider explores how Toulouse's civic and community life was represented in the stagings of various ceremonies. His inquiry is based on the unpublished diaries of Pierre Barthès, a Latin tutor who was both a devout Catholic and a monarchist, and who recorded forty years of public activity in ways that reflected the mounting social tensions of his times. By analyzing Barthès's accounts, Schneider demonstrates how the variety of ceremonial forms embodied different ritual dynamics and represented contrasting values. The author focuses most intently on the differences between the solemn religious procession, which was highly participatory and represented local concerns, and the more celebratory festival, which vaunted the monarchy and turned the people into passive spectators. He examines the theatrical nature of often hastily orchestrated religious parades winding through neighborhood streets, then considers the monarchy's use of plazas for staged entertainment, particularly for awe-inspiring displays of fireworks. Schneider argues that the festival proved a successful tool in imposing the symbols of the centralized state on Toulouse's public life, but that both the procession and the festival incorporated powerful ceremonial forms that proved politically useful for the Revolution.

As archaeologists peel away the jungle covering that has both obscured and preserved the ancient Maya cities of Mexico and Central America, other scholars have only a limited time to study and understand the sites before the jungle, weather, and human encroachment efface them again, perhaps forever. This urgency underlies Yaxchilan: The Design of a Maya Ceremonial City, Carolyn Tate's comprehensive catalog and analysis of all the city's extant buildings and sculptures. During a year of field work, Tate fully documented the appearance of the site as of 1987. For each sculpture and building, she records its discovery, present location, condition, measurements, and astronomical orientation and reconstructs its Long Counts and Julian dates from Calendar Rounds. Line drawings and photographs provide a visual document of the art and architecture of Yaxchilan. More than mere documentation, however, the book explores the phenomenon of art within Maya society. Tate establishes a general framework of cultural practices, spiritual beliefs, and knowledge likely to have been shared by eighth-century Maya people. The process of making public art is considered in relation to other modes of aesthetic expression, such as oral tradition and ritual. This kind of analysis is new in Maya studies and offers fresh insight into the function of these magnificent cities and the powerful role public art and architecture play in establishing cultural norms, in education in a semiliterate society, and in developing the personal and community identities of individuals. Several chapters cover the specifics of art and iconography at Yaxchilan as a basis for examining the creation of the city in the Late Classic period. Individual sculptures are attributed to the hands of single artists and workshops, thus aiding in dating several of the monuments. The significance of headdresses, backracks, and other costume elements seen on monuments is tied to specific rituals and fashions, and influence from other sites is traced. These analyses lead to a history of the design of the city under the reigns of Shield Jaguar (A.D. 681-741) and Bird Jaguar IV (A.D. 752-772). In Tate's view, Yaxchilan and other Maya cities were designed as both a theater for ritual activities and a nexus of public art and social structures that were crucial in defining the self within Maya society.

"At the heart of the book is a detailed account of four major events that significantly shaped the history of Venice, the formation of the Holy League (the coalition that brought the republic into conflict with the Ottoman Empire): the victory of that League against the Turkish fleet at the battle of Lepanto; the ceremonial arrangements that were made to welcome Henry III of France to the city in 1574; and the devasting plague of 1575-7." "This central part is frame by two others. The first concentrates on St. Mark's Square, the buildings that surround it and the social and religious life that used it as a backdrop. This involves reconstruction of the historical and mythical events that gradually led to the elaboration, by Jacopo Sansovino and others, of a monumental civic arena invested with layers of meaning that were fundamental to a sense of Venetian identity. The final section considers how the major events of the 1570s, and above all the victory at Lepanto, were metabolized in Venetian history and reconfigured in the realms of memory and myth. Important factors in this process were the role of the printing press (Venice lay at the heart of the Italian booktrade) in disseminating accounts of current events and reworking them into a further elaborator of the Myth of Venice, and the ritual and other transformations that took place (such as the construction of Palladio's church of the Redentore), and their connection to the religious matrix that provides the key to the civic ethos of the city in the late sixteenth century. Venice had become the City of God."--Rabat de la jaquette

This book offers a new perspective on the evolution of cities across the Roman Empire in late antiquity and the early Middle Ages.

Urban ceremonial in the Middle Ages took various forms and served a number of different ends--private, collegial, political, and religious. Broadly construed, urban ceremonial included public functions of multiple sorts. From private, but public, celebrations of births, marriages, and deaths to the grand entries of rulers into cities, the spectacles were designed to impress events on collective memory. - from the Introduction.

Graduate student Jeremy Freirs and Aspiring dancer Carol Conklin, summering in the New Jersey village of Gilead, are trapped in a nightmare of terror, with an evil force emanating from a place once called Maquineanok, the Place of Burning.

The fourteen essays that comprise this volume concentrate on festival iconography, the visual and written languages, including ephemeral and permanent structures, costume, dramatic performance, inscriptions and published festival books that ’voiced’ the social, political and cultural messages incorporated in processional entries in the countries of early modern Europe. The volume also includes a transcript of the newly-discovered Register of Lionardo di Zanobi Bartholini, a Florentine merchant, which sets out in detail the expenses for each worker for the possesso (or Entry) of Pope Leo X to Rome in April 1513.

In a fresh examination of the French ceremonial entry, Neil Murphy considers the role these events played in the negotiation between urban elites and the Valois monarchy for rights and liberties. Moving away from the customary focus on the pageantry, this book focuses on how urban governments used these ceremonies to offer the ruler (or his representatives) petitions regarding their rights, liberties and customs. Drawing on extensive research, he shows that ceremonial entries lay at the heart of how the state functioned in later medieval and Renaissance France.

Nearly 2000 years ago, people living in the river valleys of southern Ohio built earthen monuments on a scale that is unmatched in the archaeological record for small-scale societies. The period from c. 200 BC to c. AD 500 (Early to Middle Woodland) witnessed the construction of mounds, earthen walls, ditches, borrow pits and other earthen and stone features covering dozen of hectares at many sites and hundreds of hectares at some. The development of the vast Hopewell Culture geometric earthwork complexes such as those at Mound City, Chilicothe; Hopewell; and the Newark earthworks was accompanied by the establishment of wide-ranging cultural contacts reflected in the movement of exotic and strikingly beautiful artefacts such as elaborate tobacco pipes, obsidian and chert arrowheads, copper axes and regalia, animal figurines and delicately carved sheets of mica. These phenomena, coupled with complex burial rituals, indicate the emergence of a political economy based on a powerful ideology of individual power and prestige, and the creation of a vast cultural landscape within which the monument complexes were central to a ritual cycle encompassing a substantial geographical area. The labour needed to build these vast cultural landscapes exceeds population estimates for the region, and suggests that people from near (and possibly far) travelled to the Scioto and other river valleys to help with construction of these monumental earthen complexes. Here, Mark Lynott draws on more than a decade of research and extensive new datasets to re-examine the spectacular and massive scale Ohio Hopewell landscapes and to explore the society that created them.