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Syndikus, Candida. "Leon Battista Alberti : das Bauornament /." Münster : Rhema, 1996. http://catalogue.bnf.fr/ark:/12148/cb370972620.
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Morin, Pauline Marie. "Leon Battista Alberti : architect as Orator." Diss., Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/22332.
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Montauban, Jannine. "El atlas poético de Rafael Alberti." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/113978.
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Capraroiu, Elena Gabriela. "La conexión rumana Alberti, Neruda, Lara /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1456284541&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Cerigioli, Marcelo Maciel. "Rafael Alberti: leituras do Museu do Prado." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-22082012-115640/.
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A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado.This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.
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Magiera, Halina. "Z zagadnień biografii i twórczości Kazimiery Alberti." Doctoral thesis, Katowice: Uniwersytet Śląski, 2017. http://hdl.handle.net/20.500.12128/5828.
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The aim of the thesis is recalling the name of Kazimiera Alberti (1898-1962), a well-known poet, novelist, playwright as well as a unique institution of both social and cultural life of the interwar 1920s period. Not only was she excluded from the afterwar literary circulation, but hardly remembered later on as well.
The following study, even though with a far-fetched assumption that it is only an attempt of a presentation or a sort of reconnaissance, requiring configuration of the following terms: a biography and literary production. Moreover, it also required a certain methodological rules concerning the presenting countable experiences of the woman and the writer as one, whose life, divided by World War II, has been portrayed as two main stages: the span in Poland and the emigration (1945-1962). Presently, easily accessible literary production including sparse biographical data is revolving around the former. As for the latter one the contrary - The correspondence, lengthy to some extent, and a series of documentaries, quite sophisticated as far is reception is concerned, aiming rather at an Italian reader. Therefore, in the preface, there has also been a certain attempt at reconciling with different attitudes presenting the dynamics of the views aiming in turn at the biographer’s position in the literary studies, in the context of the last decade and such theorists as Janusz Sławiński, Edward Balcerzan, Leslie A. Fiedler, James C. Clifford, Ryszard Nycz. Needless to say that all the questions have been settled and firmly binded by the feminist criticism. The innovative biographical formula whose reading in correlation with experience displacing pure theory, as well as the candour for interdisciplinary approach, is fundamental in this view.
By the will of Maria Grabowiecka (Alberti’s friend) and afterwards her daughter Elżbieta Szańkowska, two volumes of Alberti’s personal documents went public. Volume 1, having been a property of IBL PAN Library, Warsaw since 1977 consists of simple draft notebooks with systematically and chronologically collected press-clippings. The first part of the dissertation entitled Reception of Kazimiera Alberti’s Literary Creation in the 1920s Interwar Period’s Literary Criticism Press is based on those very clippings. This Cronicle of Alberti’s works as such has enabled grouping them according to popularity ratings, artism, literary
competence, creation and influences as well as conventionality, ingenuity, linguistic review structure, reflecting the social order beyond the text.
Volume 2, donated in 2006 to the Adam Mickiewicz’s Literature Museum, Warsaw, consists of Alberti’s personal correspondence and photographs. Barely readable, covered with time patina records of the author are a crucial reference of the second part of the thesis: From Kazimiera Alberti’s Biographical Issues.It is not a reconstruct following strictly the chronology events. It tends to have been organized by a problematic approach and the focus revolving around the notions of: the Gift, the Motion, the Loss. Moreover, according to the “innovative biographic formula” established rules and “the poet of experience” those ones are thoroughly compiled in the third, interpretational part of the thesis: From Kazimiera Alberti’s Literary Creation
Seven poetry volumes constitute Alberti’s the pre-war literary work (Bunt lawin – The Avalanches’ Mutiny, 1927; Mój film – My Movie, 1927; Pochwała życia i śmierci – The Praise of Life and Death, 1930; Godzina kalinowa – The Viburnum Hour,1935; Usta Italii – The Mouth of Italy, 1936; Więcierz w głębinie – The Kiddle in the Depth, 1937; Serce zwierzęce – The Animal Heart, 1939), three novels (Tatry, narty, miłość – The Tatra Mountains, Skis, Love, 1928; Ghetto potępione. Powieść o duszy żydowskiej – Ghetto the Condamned. A Tale of Jewish Soul, 1931; Ci, którzy przyjdą. Powieść mieszczańska – Those Who Shall Come. Bourgeois Novel, 1934) as well as a typewriter’s script for a theatre play Wiosna w domu (Spring at Home) whose opening night took place in 1937 in Poznań. Being so diversified in terms of themethat oeuvre creates obviously a number of rendering possibilities. Though, the invitation to a dialogue in the context of the feminist theories are beamed by all the works in order to be able to deal with such an abundant literary composition and find a compromise between the subject domain as such and the critical domain in monographic works, I have ventured an interpretation of the volume of Mój film andthe novel Ghetto potępione. Focusing on the notion of the Gift I tend to be referring to the Ci, którzyprzyjdą and chosen literary extracts deriving from various works. The reference list in terms of contexts marking this part of the thesis is quite noticeable. As for the feminist criticism and the biological woman cult, the name of Mary Daly occurs in the context, as well as of the author of the Sensual Philosophy – Jolanta Brach-Czaina. Due to the more complex, psychoanalytical aspects and numerous translations Krystyna Kłosińska is also widely quoted in that matter. Invoking an avant-garde, Hélène Cixous’s language and Elizabeth Grosz’s corporal feminism are also widely justified. Interdisciplinary approach is in turn conducted
with Julia Kristeva focusing on "abject" domain and "a subject-in-progress", with Michel Foucault and Marc Augé roaming around no-man's-lands and other nomadic areas or with not tagged as a popular name though classic Carl Gustav Jung.
The author of the dissertation is far from an assumption that the thesis should be considered as complementary and closed in form, therefore, with the form called Instead of the conclusion, by means of references to the concepts of nomadic subjects by Rosi Braidotti, she points out the fields which require additional research, both in reference to Alberti's life, as well as to her literary creation, regardless of the relations between these two notions.
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Swan, Alan. "Les oeuvres en prose de Rafael Alberti." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30037.
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Les proses de rafael alberti montrent une grande diversite de style et de contenu et aident a definir sa trajectoire poetique et personnelle. Huit etapes principales sont etudiees: les premiers proses et lettres de rute (1925). Un texte autobiographique et une conference d'avant-garde (1929). Un voyage de decouverte en europe et le reveil de l'engagement politique d'alberti (1931-1932). Deux voyages en urss (1931 et 1934). Un voyage en amerique et en amerique latine (1934-1935) les ecrits sur le theatre et le cinema. Les proses de la guerre civile. Les memoires et des journaux et des amis intimes. Les derniers chapitres de la arboleda perdida, parus entre 1984 et 1987 sont repertories et quatre textes oublies, dont un de maria teresa leon, sont inclusAlberti's prose writings, which include many newspaper articles, show a great diversity of style and content and contribute towards the definition of his poetic and personal development. Eight main periods are studied: the proses and letters written at rute (1925). An autobiographical article and an avant-garde conference (1929). The discovery of europe and the awakening of alberti's political commitment (1931-1932). Two trips to the u. S. S. R. (1931 and 1934). A voyage to the u. S. A. And central america (1934-1935). Writings on the theatre and the cinema. Prose written during the civil war. Memoirs and intimate diaries and friends. The final part of la arboleda perdida, published in newspaper articles between 1984 and 1987, is summarized, and four forgotten texts (one of which is by maria teresa leon) are included
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Stolf, Serge. "Ironie et discours chez Leon Battista Alberti." Grenoble 3, 1994. http://www.theses.fr/1994GRE39033.
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Cette etude prend en consideration le discours ironique dans les oeuvres en latin ( pour une large part ) et en "volgare "de l. B. Alberti. L'ironie y est tout d'abord envisagee par la voie de l'intertextualite, puis dans sa relation avec les discours universaux (discours metaphysiqueet discours de la raison) dont elle met en question les certitudes omniscientes. Enfin, consideree dans sa dimension dialogique, elle souligne la necessite et les dfifficulttes d'une confrontation des savoirs, mais peut aussi assumer le statut incertain, entre dissimulation et synisme, d'une parole libre dejouant sanctions sociales et politquesThis essay considers the works of l. B. Alberti, written in latin and in "volgare". First, it looks at irony following the way of the "intertextualite". Moreover, the irony calls in question the omniscient certitudes of universal speechs (metaphysical speech and speech of the reason). Lastly, the irony, considered as dialogue, underlines the necessary and difficult confrontation of learnings, but it can also assume the dubious status, between dissimulation and cynicism, of a free speech that eludes social and political sanctions
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Swan, Alan. "Les Oeuvres en prose de Rafael Alberti." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376110015.
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Spaliviero, Camilla <1987>. "Rafael Alberti: poemas para recitar y cantar." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3451.
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Este trabajo estudia unos ejemplos de poesía políticamente comprometida de Rafael Alberti. Los poemas elegidos son “Galope”, “A las Brigadas Internacionales” y “Nocturno”, que pertenecen a Capital de la gloria, cuarta y última sección de De un momento a otro. Estos poemas estaban destinados a ser recitados ante las tropas en las trincheras con el fin de animarlas a seguir luchando contra los rebeldes franquistas. Los mismos textos tuvieron gran difusión durante la guerra y la posguerra española al punto que varios cantautores españoles, como Paco Ibáñez, los rescataron con sus interpretaciones dándoles nueva vida política, social y cultural. Después de colocar estos textos en su contexto histórico y hablar del rol político de su autor, este trabajo se centra en los poemas primero a partir de un análisis textual (en la línea de Lotman, Jakobson, Fónagy y Beccaria) y luego a través del análisis del elemento vocal en sus articulaciones como la lectura en voz alta y las adaptaciones en forma de canción. El marco analítico es de tipo fenomenológico e investiga la voz desde unas perspectivas bien filosófico-psicológicas, bien fisiológico-técnicas.
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Jarzombek, Mark Michael. "Leon Baptista Alberti : the philosophy of cultural criticism." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14984.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 355-362.
This dissertation investigates Leon Baptista Alberti's cultural critique, taking into consideration a broad spectrum of Alberti's writings, including many which have remained relatively unknown and ignored. Alberti developed his cultural theories by means of a literary ontology which is based on the definition of the author, his role in society, and his function as catalyst for regeneration. His theory of art and of history, and even his views on the task of Humanism it self, are all subsumed in his comprehensive attempt to demonstrate that myth-making capabilities are central to society's self-definition. Unless society keeps alive the myths of destruction and regeneration, its historical viability, so Alberti argues, is endangered. Alberti's aesthetic theory, which has previously been sought exclusively in his treatises, De pictura and De re aedificatoria, emerges in this inquiry as inextricably interlocked with his cultural critique. For the first time, the treatises will be viewed from within the context of Alberti's own thought.
by Mark Michael Jarzombek.
Ph.D.
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Alberti, Frederic [Verfasser]. "Dynamic and probabilistic aspects of recombination / Frederic Alberti." Bielefeld : Universitätsbibliothek Bielefeld, 2021. http://d-nb.info/123199472X/34.
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Capistrano, Gradisca de Oliveira Werneck de. "A vila nos textos de Alberti e Palladio." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-08012015-153002/.
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Alberti e Palladio foram dois dos principais nomes na constituição dos modelos de vilas que caracterizaram o Renascimento italiano. Enquanto Alberti, em seu De re aedificatoria, estabeleceu as bases e a fundamentação teórica sobre o tema, no início do período, Palladio com I Quattro Libri dell\'Architettura, sistematizou um repertório formal que o tornou responsável pela difusão do modelo ao redor do mundo. Tendo-se em vista a importância da contribuição de ambos os autores e considerando que Palladio leu o tratado de Alberti, foi feito um estudo comparativo desses dois modelos de vila, visando detectar suas aproximações e divergências. Partindo-se da exposição do tema no corpo dos tratados e passando pelas definições do termo vila são abordados diversos aspectos da argumentação dos dois autores. Considerando a grande contribuição de Alberti e Palladio no campo da representação gráfica da arquitetura e do processo intelectual de projeto, foi discutida a relação desses dois temas, tanto na composição quanto na apresentação das vilas (especificamente no tratado paladiano). São analisadas ainda, o estabelecimento das hierarquias que são utilizadas na adequação das vilas à classes sociais de seus proprietários, a setorização proposta na organização da vila e da casa de vila e, por fim, a compartimentação desses edifícios. Mesmo considerando que os dois autores leram Vitruvio, de onde poderiam ter surgido diversos pontos que apresentam em comum, deve-se considerar que, para o projeto e a concepção das vilas, o texto de Vitruvio foi de pouca utilidade. Sendo assim, é surpreendente e também reveladora a semelhança que se percebe nas vilas de Alberti e Palladio. Em diversos trechos dos tratados, os discursos são tão próximos que parecem complementares, como também se pode utilizar projetos paladianos para exemplificar indicações teorizadas por Alberti. Esse trabalho não pretende esgotar o argumento, mas verificar a existência de uma relação entre a vila para ambos e, com essa relação mostrando-se tão forte, superaram-se todas as expectativas iniciais.Alberti and Palladio were two of the leading names in the establishment of models for villas, which characterized the Italian Renaissance. At the beginning of the Renaissance period, Alberti in his De Re Aedificatoria established the foundation and the theoretical background of the subject. Afterward Palladio, in his I Quattro Libri Dell\'Architettura, systematized a set of formal rules that made him responsible for the diffusion of a general model of villa around the world. Bearing in mind the importance of the contribution of both authors and considering that Palladio read Alberti´s treatise, we made a comparative study of these two models of villa, in order to detect their similarities and differences. Several aspects of both authors\' arguments are addressed, starting from the development of the subject in the body of the treaties and including the different definitions of the term villa. Given the important contributions of Alberti and Palladio in the field of graphic representation of architecture and intellectual process of project, the relationship between these two topics was discussed, both in the composition and in the presentation of villas (specifically in the Palladian treaty). Furthermore, we analyzed the establishment of hierarchies used in adapting the villas to the social class of their owners; we investigated the sections proposed for the organization of the villa and, finally, we examined the partitions of these buildings. Although the two authors read Vitruvius, who could have provided them with a common theoretical background, it must be stressed that Vitruvius´s writings were of little use in the conception and project of villas. Therefore, it is surprising and revealing the resemblance noticed in the villas of Alberti and Palladio. In different parts of the treaties, discussions are so close that they seem complementary. Besides, Palladian projects can also be used to exemplify indications theorized by Alberti. The present study does not bring to an end the discussion; instead, it intends to check the existence of a relationship between the ideas of in both authors. We demonstrate that this relationship is actually strong, overcoming all the initial speculations of tight connections.
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Santos, Eleni Nogueira dos. "Um enredo e três discursos: destruição e renascimento de Numancia sob a ótica de Miguel de Cervantes e Rafael Alberti." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-16092015-160818/.
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O objetivo deste trabalho é realizar uma análise comparada de La destrucción de Numancia, de Miguel de Cervantes, e das duas adaptações de Rafael Alberti, ambas intituladas Numancia:tragedia. A hipótese principal deste estudo é a de que as adaptações, levando em conta as alterações realizadas na forma e no conteúdo resultam em duas recriações, fazendo com que elas possam ser consideradas como obras autônomas cujos significados correspondem às circunstâncias específicas do momento histórico no qual foram escritas. Para confirmar a hipótese nos baseamos em doutrinas retóricas e poéticas e em estudos críticos sobre as tragédias analisadas. O texto está composto por quatro capítulos. O primeiro capítulo contém uma breve contextualização sobre a origem e a recepção da peça cervantina e das duas adaptações realizadas por Alberti. O segundo capítulo trata de alguns dos elementos de poética que se apresentam de forma diferenciada nas três peças, além da análise dos dois prólogos albertianos. O terceiro capítulo incide sobre a primeira versão de Alberti, escrita em 1937. O quarto e último capítulo analisa a segunda peça adaptada em 1943. Após a análise, verifica-se que, devido às diversas alterações realizadas, as duas tragédias estão marcadas pelas convicções estéticas, políticas e ideológicas do poeta e dramaturgo, distanciando-se, portanto, da obra cervantina e sendo possível considerá-las como obras independentes, isto é, como recriações.The objective of this study is to conduct a comparative analysis between La destrucción de Numancia, by Miguel de Cervantes, and the two adaptations by Rafael Alberti, both of which are titled Numancia: tragedia. This study sets out to propose a hypothesis indicating that, considering the changes made in the form and the content, the adaptations have led to two recreations which can be considered independent works. Such works would, thus, carry meaning which would correspond to the specific circumstances of the historical context they were created in. We have used rhetoric and poetic doctrines, as well as critiques on the tragedies to be analyzed to confirm our hypothesis. The article is composed of four chapters. Chapter one briefly contextualizes the origins and reception of Cervantes work and the two adaptations by Alberti. Chapter two focuses on the poetic elements shown differently between the three plays, as well as on both of the prologues in Albertis works. Chapter three centers around Albertis first version, written in 1937. Finally, chapter four analyzes the second play written in 1943. The analysis shows that, due to several changes, both tragedies are highlighted by Albertis aesthetic, political, and ideological convictions, thus placing the two plays further apart from Cervantes work. In the end, this allows the adaptations to be considered independent works, which is to say, recreations.
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Osera, Karen Mylena de Gouvea [UNIFESP]. "O estatuto do artífice no Tratado da pintura de Leon Battista Alberti." Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39254.
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O tema desta dissertação de mestrado concentra-se no estudo acerca do estatuto do artífice no tratado Da pintura de Leon Battista Alberti. Para atingir esse objetivo, mostrar-se-á como a Renascença italiana tinha por base a filosofia aristotélica, cujo entendimento pode ser buscado nas classificações dos saberes no Renascimento. Isto posto, interessa analisar o tratado de Alberti para pensar que as artes na época faziam parte do contexto da filosofia num sentido amplo e, assim, podem ser estudadas pela História da Filosofia a partir de um “olhar de época”, diverso do olhar da História da Arte, a fim de pensar a posição do artífice na Renascença italiana.
This dissertation focuses on studying the artificer status as described in the treatise On Painting, by Leon Battista Alberti. To do so, it will show how Italian Renaissance was based on Aristotelian philosophy, whose understanding can be sought in the knowledge ratings during Renaissance. That said, it is interesting to analyze Alberti treatise to perceive the arts at the time as part of a philosophy context in a broad sense; and capable of being studied by Philosophy History from an “period eye”, different from Art History looking, in order to think about the artificer position during Italian Renaissance.
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Biermann, Veronica. "Ornamentum : Studien zum Traktat "De re aedificatoria" des Leon Battista Alberti /." Hildesheim ; Zürich ; New York : G. Olms, 1997. http://catalogue.bnf.fr/ark:/12148/cb37000762t.
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Bianchi, Bensimon Nella. "Unicité du regard et pluralité des voix : essai de lecture de Leon Battista Alberti /." Paris : Presses de la Sorbonne nouvelle, 1998. http://catalogue.bnf.fr/ark:/12148/cb36985694f.
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Dunlop, Kirsten. "Rhetoric and the city : reading Alberti, reading urban design." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302090.
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This thesis addresses the affinities between rhetoric and architecture. It is an essay in cultural history prompted by the reading of a text: Leon Battista Alberti's famous, mid-Quattrocento treatise on architecture, De re aedificatoria. It is about the interrelation of rhetoric and architecture in the city in Italy between the Trecento and the Cinquecento. The argument is framed by the notion that the city is a duality involving material and discursive cultures. The built and the written city unites architecture and rhetoric as cognate cultural practices, a kinship which suggests that one can be read in terms of the other. Accordingly, this thesis proposes rhetoric as a tool for reading actual cities, and develops a model of rhetoric to apply to Italian medieval/Renaissancec ities basedo n a precedent found in De re aedificatoria. The thesis is arranged into two parts. The first involves a thorough reading of Alberti's treatise. Chapter One focuses on the analogy between rhetoric and architecture in his theory, arguing that De re aedificatoria demonstrates a comprehensive grafting of rhetoric onto architecture that goes beyond analogy. It further suggests that this interdisciplinary approach is a product of the humanist culture of which Alberti was a part. Chapter Two expands this reading by recognizing the long-standing history of association between rhetoric and architecture in literature, a history that has continued into modem discourse. That association is then discussed in general historical and cultural terms extrapolated from Alberti's text. These terms form the basis of case studies presented in the second part of the thesis. Given that rhetoric is integral to the design of the city, the second part of the thesis is a demonstration of two propositions: the first, that rhetoric is a useful way of reading actual cities; and the second, that rhetoric is a useful way of reading the history of actual cities. These propositions are explored in two thematically defined case studies. Chapter Three looks at the relationship between art and power in the urbanism of Florence from 1280 to 1560, with a brief comparative discussion of Herculean Ferrara (1471-1505). Chapter Four examines a rhetorical practice of intertextuality and textualauthority in the late-Quattrocento building projects of Pope Pius II at Pienza and Federico da Montefeltro at Urbino. Both Part One and Part Two are prefaced by introductions that establish the terms of the rhetoric used in this thesis. The Introduction to Part One offers an explanation in general theoretical terms of rhetoric's capacity to be an integrative public discourse. The Introduction to Part Two sketches a proposed rhetoric of the city which is applied comparatively in the case studies that follow. The thesis as a whole works to establish the coexistence of the built and written cities in history and to show how rhetoric is able to integrate them. It argues that rhetoric is an appropriate and flexible means of reading the complex interweaving of aesthetics and politics, memory, text, discourse and material culture, the real and the unreal, in the construction and articulation of the city
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Bianchi, Nella. "Le monde relationnel dans l'oeuvre de Leon Battista Alberti." Paris 3, 1994. http://www.theses.fr/1994PA030152.
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Le but de cette these est d'eviter les differentes relations qui se nouent au sein de l'oeuvre de leon battista alberti; elle est donc divisee en deux parties dont chacune comporte trois chapitres. Les trois premiers chapitres analysent le rapport que l'auteur etablit avec son public et son oeuvre: ses motivations, ses objectifs ouvertement declares ou dissimules dans le jeu et le fonctionnement du dialogue. Les chapitres iv, v, vi etudient comment alberti presente le reseau de relations sur lesquelles se fonde la vie sociale en proposant des solutions quii varient en fonction des points de vue choisis par l'autuer et l'incarnes par ses personnagesThs thesis aims at studying the different relationships in leon battista alberti's work. . It is therefore divided into 2 parts with 3 chapiters each. The first 3 chapters analyse the link that the author establishes with the reader and his work: his desires and aims, expressed openly or indirectly in the functioning of the dialogue. Chapters iv, v, vi examine haw alberti presents the network of relationships on wich social life is bases; by putting forth solutions wich vary depending on the points of view chosen by the author and presented by his characters
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Addis, Anna <1978>. "Artificio e maschera nel pensiero di Leon Battista Alberti." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3218/1/Addis_Anna_tesi.pdf.
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Addis, Anna <1978>. "Artificio e maschera nel pensiero di Leon Battista Alberti." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3218/.
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Benedetti, Samantha <1992>. "Edizione critica e commentata dell'Ecatonfilea di Leon Battista Alberti." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17909.
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La presente tesi propone l'edizione critica dell’Ecatonfilea, uno degli opuscoli amatori di Leon Battista Alberti, ascrivibile alla sua produzione volgare e risalente alla prima metà del XV secolo. Lo studio si basa sullo spoglio degli undici manoscritti che tramandano l’opera; in base alla collazione dei testimoni è stato così possibile risalire a uno stemma codicum rappresentativo dei rapporti che intercorrono tra i codici della tradizione.
Il testo redatto ha dunque permesso di presentare un commento linguistico ed esegetico, che l’intento di analizzare lo scritto in modo critico e puntuale.
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Owouala, Aimée-Bernadette. "La mer dans la poésie de Rafael Alberti à travers Marinero en tierra (1924), Pleamar (1942-1944), La Arboleda Perdida 1 (1902-1917)." Perpignan, 2009. http://www.theses.fr/2009PERP1220.
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Loewen, Andrea Buchidid. "Lux pulchritudinis: sobre beleza e ornamento em Leon Battista Alberti." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19052010-114309/.
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Inspirado em ares toscanos, inflamado por fontes antigas e cingido por ruínas romanas, Leon Battista Alberti compõe, em letras latinas, uma doutrina moderna do belo semeada nos tratados das Artes. Nela, a beleza esplende em pulchritudo e ornamentum: aquela, harmonia proporcional das partes de um corpo que não admite acréscimos ou subtrações ou alterações, é qualidade inerente; este, aderente à figura, é luz auxiliar e pulcro complemento. Evocando a Retórica de Cícero e Quintiliano, e avocando vêneras metáforas, orgânicas, a preceptiva albertiana, ao fundir noções de decorum e aptum e acomodar esteses e motivações éticas, supera a separação entre estrutura e ornamento, atenuando a idéia de uma beleza emersa tão-só de relação proporcional, a encerrar modernas oposições entre ornatus e utilitas.Inspired in tuscan airs, inflamed by ancient sources and girded by Roman ruins, Leon Battista Alberti composes, in latin letters, a modern doctrine of beauty sowed upon the treatises on the Arts. In that, beauty glares in pulchritudo and ornamentum: the former, proportional harmony of the parts within a body that does not accepts additions or subtractions or alterations, is inherent quality; the latter, adherent to the figure, is auxiliary light and fair complement. Evoking the rhetoric of Cicero and Quintilian, and invoking comely, organic, metaphors, the albertian precepts, by fusing the notions of decorum and aptum and accommodating aesthethical principles and ethical motivations, surpasses the separation between structure and ornament, attenuating the idea of a beauty only emerged from proportional relation, ending modern oppositions between ornatus and utilitas.
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Wulfram, Hartmut. "Literarische Vitruvrezeption in Leon Battista Albertis "De re aedificatoria" /." München : K. G. Saur, 2001. http://catalogue.bnf.fr/ark:/12148/cb38963958s.
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Tavernor, Robert William. "Concinnitas in the architectural theory and practice of Leon Battista Alberti." Thesis, University of Cambridge, 1985. https://www.repository.cam.ac.uk/handle/1810/239042.
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In his treatise on architecture, de re aedificatoria, Leon Battista Alberti (1404 - 72) described Beauty in architecture as concinnitas: a harmony or congruity of the various parts of a building assembled according to principles :summarised by three categories of numerus, finitio and collocatio . This term has been interpreted variously and most famously in recent times by Rudolph Wittkower. Starting with his and other scholars' interpretations, this dissertation proposes a new definition for concinnitas based on studies of Alberti's architectural theory and practice and the work of his contemporaries. Chapters 1, 3 and 4 of the dissertation focus on the application of numerus and finitio in Alberti's architectural practice and observations made here are supported by separate historical studies of the buildings (be found in the appendices) and survey drawings (bound together at the end of the dissertation). Chapter two is a study of the symbolic references, traditions and themes which appear to underlie the design of centralised churches and points raised here are expanded in later chapters. The third category, collocatio, is examined in the final chapters when the continuity of tradition in Alberti's approach to architecture is outlined within the framework of the city and the urban ensemble of church, palace, piazza and loggia.
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Câmara, Ana Paula Ribeiro. "Da poesia ao pictórico em A la pintura de Rafael Alberti." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23726.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-06-21T21:05:06Z No. of bitstreams: 1 2017_AnaPaulaRibeiroCâmara.pdf: 6726574 bytes, checksum: bdd5f442d40c75783f21af660b21cc55 (MD5)
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A poesia e a pintura possuem um longo histórico de relações, às vezes amistosas, outras nem tanto. Em 1945, o escritor espanhol Rafael Alberti publica um livro de poemas intitulado A la pintura. Poema del color y la línea. Com essa obra, o autor retoma a questão da aproximação entre as artes. Nesta dissertação, objetiva-se entender qual o papel da pintura no desenvolvimento do livro. Há três tipos de poemas na obra, aqui, ocupa-se mais detalhadamente dos poemas dedicados a pintores. Os outros se referem às cores e às técnicas, gêneros e partes da pintura. A pesquisa feita é qualitativa e tem um caráter descritivo e analítico-interpretativo. Percebe-se que o poeta usa diversos procedimentos para transformar a pintura dos 26 pintores escolhidos em poesia. Entre eles estão a ekphrasis, a metatextualidade e a hipertextualidade. A pintura tem um papel múltiplo na construção da obra. Espera-se que este estudo contribua para as investigações interartes de literatura espanhola no Brasil.
Poetry and painting have a long history of relationships, sometimes friendly, sometimes not. In 1945, the Spanish writer Rafael Alberti publishes a book of poems entitled A la pintura. Poema del color y la línea. The author returns to the issue of the approximation among the arts by this work. The objective of this dissertation is to understand the role of painting in the development of this literary work. There are three types of poems in the book, here, it deals more in detail of the poems dedicated to painters. The others refer to the colors and techniques, genres and parts of the painting. It was a qualitative research and has a descriptive and analytic-interpretative character. It is noticed that the poet uses several procedures to transform the painting of the 26 chosen painters into poetry. Among them are ekphrasis, metatextuality and hypertextuality. Painting plays a multiple role in the construction of these poems. It is hoped that this study will contribute to the interart investigations of Spanish literature in Brazil.
La poesía y la pintura poseen un largo historial de relaciones. Estas a veces son amigables, otras veces no tanto. En el año 1945, el escritor gaditano Rafael Alberti publica A la pintura. Poema del color y la línea. Al escribir este libro, el autor reanuda la discusión de la aproximación entre las artes. En este estudio se procura entender el papel de la pintura en la constitución de esa obra. En el escrito, hay tres tipos de poemas: los dedicados a pintores, los direccionados a los colores y los que contemplan las técnicas, géneros y partes de la pintura. En esta investigación se da especial atención a las poesías que tratan de los pintores. Este estudio es cualitativo y tiene un carácter descriptivo, analítico e interpretativo. Se percibe que el poeta usa diversos procedimientos al transformar la pintura de los 26 pintores elegidos en poesía. Entre esos procesos están la ekphrasis, la metatextualidad y la hipertextualidad. La pintura tiene roles múltiples en la construcción del libro. Se espera que esta investigación haga aportaciones a los estudios interartes de literatura española en Brasil.
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Furlan, Francesco. "Les Livres de la famille (De familia) de Leon Battista Alberti." Paris, EHESS, 1994. http://www.theses.fr/1994EHESA002.
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Cette these etudie le contexte, la genese te le processus d'ecriture du de familia de leon battista alberti (1404-1472). Elle comprend deux volumes respectivement intitules "contexte, genese et ecriture d'un dialogue" et "tradition et texte". Le premier volume aborde dans l'introduction le probleme des differentes formes d'ecriture d'alberti (traite, dialogue, ludus) et de leur signification epistemologique; il etudie ensuite les modeles antiques, les formes, les methodes et le contexte humaniste (chapitre i et ii), puis la chronologie, la typologie, la conception et la composition des dialogues italiens d'alberti (chapitre iii), ainsi que la progression du dialogie, les fonctions des personnages et la production de la verite dans le de familia (chapitre iv). Clot le volume un appendice consacre a "la famille, la femme, l'amour" qui etudie les perceptions et les idees d'alberti en la matiere dans l'ensemble de son oeuvre et a la lumiere des conceptions ecclesiastiques ainsi que des pratiques concretes des milieux marchands de l'epoque. Le second volume comprend une edition critique des quatre livres du de familia precedee d'une substantielle introduction dans laquelle la genese de l'oeuvre et les modalites de sa circulation sont retracees d'une maniere nouvelle et les rapports entre les manuscrits connus sont pour la premiere fois reconstruits de facon rationnelle: trois stemma distincts, correspondants aux trois sections (prologue et livres i-ii, livre iii precede par le proemio ou lettre de dedicace a francesco d'altobianco alberti, livre iv) dans lesquelles l'ouvrage a effectivement circule, sont ainsi proposesThis thesis studies the context, the genesis and the process of the writing of de familia by leon battista alberti (1404-1472). It is composed of two volumes respectively entitled "context, genesis and writing of a dialogue" and "tradition and text". The first volume tackles in its introduction the problem of the different forms of alberti's writing (treatise, dialogue, ludus) and of their epistemological significance; it studies next the ancient models, the forms, the methods and the humanist context (chapter i and ii), then chronology, typology, conception and composition of alberti's italian dialogues (chapter iii), as well as the progression of dialogue, the fonction of characters and the production of the truth in de familia (chapter iv). The volume ends with an appendix dedicated to "family, woman and love" which studies, in the whole of his work, the perceptions and ideas of alberti on these subjects in the light of ecclesiastical conceptions and practices of the merchant milieu of the time. The second volume contains a critical edition of the four books of de familia. It is precedeed by a substantial introduction which retraces in a new manner the genesis of the work and the modalities of its circulation and which reconstructs for the first time the connection between the known manuscripts in a rational way. Three distinct stemmata corresponding to the three sections, under which the book was effectively circulated, are proposed
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D'Altobianco, Alberti Francesco Decaria Alessio. "Rime /." Bologna : Commissione per i testi di lingua, 2008. http://catalogue.bnf.fr/ark:/12148/cb41359281q.
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Zanchetta, Ricardo. "Da Pintura de Leon Battista Alberti: comentário e tradução do primeiro livro." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-16102014-101330/.
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Apresenta-se neste trabalho a tradução anotada de ambas as redações, latina e toscana, do primeiro livro do Da Pintura de Leon Battista Alberti. Nesse livro, Alberti apresenta os rudimentos geométricos e óticos da pintura, a sua definição de pintura e a primeira sistematização escrita da construção em perspectiva. O Da Pintura também é foco de um comentário em três capítulos, em que se discute: 1°) as questões de estabelecimento do texto, bilinguismo e cronologia ; 2°) o gênero do discurso e suas fontes ; 3°) os aspectos gerais do livro I.This work presents a translation of both Latin and Tuscan versions of the first book from On Painting, by Leon Battista Alberti. In this book, Alberti presents the geometric and optic rudiments of painting, his definition of painting, and the first written systematization of perspective construction. On Painting is also the focus of a commentary divided in three chapters, in which the following shall be discussed: 1°) the questions pertaining the establishment of the text, its bilingualism and chronology; 2°) the discourse\'s genus and its sources; 3°) the general aspects of book one.
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Flepp, Catherine. "La production poétique de Rafael Alberti des premiers poèmes à Sobre los ángeles." Paris 3, 2002. http://www.theses.fr/2002PA030090.
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Ce travail consacré à la poésie d'Alberti, de 1920 à1928, a pour objet de chercher à cerner le désir, au travers du signifiant poétique, à partir des indices qui permettent de découvrir les différentes mises en scène du sujet dans son rapport à un objet archai͏̈que perdu. Lancé à la poursuite de cet objet à jamais perdu, il ne peut que se découvrir autre, en dépit des efforts déployés pour préserver une totalité indivise et se soustraire à l'expérience de la castration. La métaphore, mise au service de l'identification, entretient l'illusion spéculaire et la toute puissance narcissique. Le sujet d'écriture oscille entre cette relation duelle de l'ordre pré-œdipien et la tourmente de la crise œdipenne. Cette histoire du désir s'inscrit dans le vaste débat engagé autour de la poésie et l'on peut lire, à la lumière de la configuration du sujet, les réponses apportées au questionnement du langage. Le poème, grevé d'une angoisse corrélative à l'Œdipe, est un espace conflictuel. L'entre-deux de la rupture et de la continuité se manifeste dès les premiers textes, par la présence conjointe des avant-gardes et des signes du retour à l'ordre qui se traduira par l'inspiration néo-populaire des recueils suivants. Dans Cal y canto, le "je" ne rencontre que le doute de l'illusion verbale. La mise à nu, dans Cal y canto, de l'écran de la représentation, en s'opposant à l'adéquation des mots aux choses, creuse un vide au cœur du réel et accroît la vacance du sujet. Avec l'entrée dans l'ordre symbolique, ce qui s'est noué entre l'être et la représentation au travers de l'identification narcissique, fondée sur une relation duelle, tend à se délier. L'on voit se dessiner, dans les poèmes de la fin de Sobre los ángeles, un nouveau statut du "je" et de nouvelles formes, qui témoignent de la reconquête de la parole et empruntent aux surréalistes un certain traitement de l'imageThis study dealing with Alberti's poetry from 1920 to 1928 purposes to grasp desire through the poetical significans, from the different settings of the subject in his relation to a lost archaic object. Trying to reach this object, lost for ever, he is bound to discover he is different in spite of his efforts to preserve his undivided wholeness and to escape the experience of castration. Metaphors used for identification maintain the specular illusion and the overwhelming narcissism. The poetry swings from the dual relation of the pre-œdipal order to the throes of the œdipal crisis. This problem of desire is part of vast debate about poetry; in the light of the configuration of the subject, one can find the answers to the language questioning. The poem laden with the anxiety of the Œdipus Complex is a conflict space. The conflictual space between breaking-off and tradition can be found in the earliest texts. The avant garde style and signs of a return to tradition can be seen in these texts. In Cal y canto, the "I" only expresses the doubt of the illusion of language. The screen of representation is laid bare and opposed to the adequation of words to things, leaving a void in the core of reality and increasing the vacancy of the subject. With the access to the symbolic order, the link based on a dual relation between the being and its narcissic identification has become loose. Nevertheless a new status of the "I" and new expressions are appearing, as it can be seen in the poems at the end of Sobre los ángeles where the reconquered word borrows a certain way of treating images from the surrealists
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Forwood, Matthew. "Poetry and the Rise of the Renaissance Artist: An investigation into the interdisciplinary nature of the Renaissance." Thesis, Department of History, 2011. http://hdl.handle.net/2123/7979.
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This thesis investigates the role poetry played in the rise of the Renaissance artist. It argues that the poetic technique ekphrasis influenced the theoretical writings of Leon Battista Alberti (1404-1472) and became the basis for Giorgio Vasari’s praise of Michelangelo as ‘divine’ (1550). It shows how poetry became a source of inspiration, in subject matter and in technique, of Sandro Botticelli’s illustrations of the Divine Comedy (1480-1500). It investigates how Alberti and Leonardo da Vinci argued that painting should be considered a dignified profession in wider society and how their arguments were confounded by the failed Accademia di San Luca (1590) because of the lack of artists who saw themselves as intellectuals.
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Troncelliti, Latifah. "Cennino Cennini and Leon Battista Alberti : two parallel realities in the Italian Quattrocento /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018397.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 314-327). Also available for download via the World Wide Web; free to University of Oregon users.
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Rivera, Clerc Anahí. "De pictura de Leon Battista Alberti — una obra inaugural para la teoría del arte." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/101520.
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Leon Battista Alberti publica De Pictura (1435) en Florencia. Para ese entonces ya se
conocían algunos escritos sobre el trabajo de los artistas, entre ellos y el más influyente
para el proto humanismo del Treccento será Il Libro dell’arte (139?) de Cennino Cennini,
que aún conservaba la doctrina medieval del taller. No obstante, en la generación posterior
de Cennini comienza el surgimiento de nuevas ideas, es el momento de la relectura de los
clásicos, nuevas explicaciones y nuevas expresiones, la fundación de un nuevo período
de civilización, intervenciones propias del primer humanismo del Quatroccento. De Pictura
en su primera edición se escribe en latín, al año siguiente el mismo Alberti traduce su
versión latina al italiano, dato fundamental para adentrarse en su complejidad. Alberti no
es un estudioso cualquiera, él fue un hombre excepcionalmente capaz que no se contentó
con estudiar a los autores clásicos, sino que también sintió la necesidad de incorporar su
propio pensamiento a las ideas de los clásicos en formas de escritos, ensayos y cartas, de
esta manera, siguió el estudio de las lenguas clásicas en donde éstas no operaban como
instrumento, sino más bien, como fundamento del pensamiento humanista. En este nuevo
escenario se publicará De Pictura y con él también el problema de índole general por tratar
en la tesina: La influencia del pensamiento humanista reinante en el ambiente intelectual
florentino y su determinación en el nuevo punto de vista con que el autor comprendió a
la Pintura y sus problemas
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Kanerva, Liisa. "Defining the architect in fifteenth-century Italy : exemplary architect in L. B. Alberti's De Re aedificatoria /." Helsinki : Academia scientiarum fennica, 1998. http://catalogue.bnf.fr/ark:/12148/cb391068384.
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Lacroix, Anne Gabrielle. "Les anges dans l'oeuvre poétique de Gerardo Diego, Rafael Alberti et Federico García Lorca." Perpignan, 2003. http://www.theses.fr/2003PERP0510.
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La figure de l'ange est particulièrement présente dans l'œuvre poétique de G. Diego, R. Alberti et F. Garcia Lorca. Ce travail analyse en premier lieu les rapports que ces trois poètes établissent entre la créature céleste et le monde. Influencés par leur éducation religieuse et leur milieu, ils évoquent sa nature, sa vocation et son action sur l'univers. La seconde partie s'intéresse aux liens qui unissent les anges et l'homme. Les trois poètes décrivent des apparitions et construisent des représentations mentales de l'ange. Certains moments de la vie -péché, mort, solitude, rêve, souffrance- sont propices à sa présence et l'associent à la condition humaine : soumis au temps et à la matière, il prend corps et devient symbole de l'amour. Sont étudiées, enfin, les relations existant entre l'ange et la culture. Douée d'intelligence, capable de communiquer, l'entité spirituelle agit sur la volonté de l'homme et inspire ses productions artistiques. L'étude comparée, à la fois thématique et stylistique, du motif de l'ange chez Diego, Alberti et Lorca révèle en fin de compte les relations que ces trois poètes entretiennent avec Dieu, l'homme et leur environnement spatio-temporelThe character of the angel is well represented in the poetic works of G. Diego, R. Alberti and F. Garcia Lorca. This work will first analyse the links the above three poets establish between the heavenly creature and the world. Influenced by their religious upbringing and surroundings, they evoke its nature, its calling and its effect on the universe. The second part will examine the links between angels and Man. These three poets describe apparitions and build up mental images of angels. Specific moments in life -sin, death, loneliness, dream, suffering- are propitious to its appearance and tie it to the human condition : enslaved by time and matter, it takes human form and becomes the symbol of love. Lastly, we will study the relationship between angel and culture. Endowed with intelligence and capable of communicating, the spiritual being can act upon man's will and inspire his artistic works. The contrasting study, both through theme and style, of the recurring angel leitmotiv in Diego, Alberti and Lorca shows finally the relationships these three poets maintain with God, Man and their own direct environment
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Paoli, Michel. "Sens et fonctions de l'idée de nature dans la pensée de L. B. Alberti." Paris 4, 1994. http://www.theses.fr/1994PA040257.
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L'objectif de notre étude est de montrer que la pensée de l'architecte-humaniste L. B. Alberti se construit autour d'une perception complexe et originale et la nature. Qu'il la sollicite dans les domaines de la connaissance, de la morale et de la politique (De familia), ou de l'esthétique (De re oedificatoria), pour Alberti, la nature n'est pas une notion univoque modèle de perfection et, partant, concept désuet - dont on pourrait résumer les attributs en quelques mots. Elle est presque simultanément la réalité - qu'il faut accepter -, un programme que l'on doit réaliser, un idéal à respecter. Et dès lors, les relations que la nature entretient avec l'homme sont tout aussi complexes, puisque la nature est en même temps ce qui est à l'origine de la raison humaine, ce que la raison doit accepter et ce qu'elle doit naturellement contribuer à parachever. En somme, la nature ne fait pas l'objet d'une contemplation spontanée, voire naïve. Elle n'est pas uniquement ordre et harmonie. La nature albertienne est, en effet, d'abord une idée humaine, constituée pour être utile à l'homme. Et, dans cette optique, la première chose à faire est de penser la nature, et de la penser comme une chose complexe qui puisse mettre l'homme à la fois sur la voie de l'acceptation et sur celle de l'action. Dans la pensée d’Alberti, la notion de nature sert donc à unifier philosophiquement les points de vue tout en respectant les interactions entre réalité, hasard, raison, humanité. .The purpose of our study is to shows that L. B. Alberti's - humanist-architect - thought is constructed around an original and complex perception of nature. Alberti uses the nature in the fields of knowledge, morals and politics (De familia), or aesthetics (De re oedificatoria). . . , but not as a univocal idea - model of perfection and out-of-date concept whose attributes could be summarized in a few words. Nature is almost simultaneously reality - which should be accepted - , a programme to be realized, and an ideal to be respected. Therefore, the links between nature and man are just as complex, since nature is all together what is at the origin of human's reason, what the reason should accept and finally what it should naturally contribute to complete. On the whole, nature is not contemplated in a spontaneous nor in an ingenuous way. It is not only order and harmony. The albertian nature is at first a human notion, constituted to be useful to man. And, from this point of view, the first thing to do is to think the nature, to think of it as a complex thing that could lead man on both paths of acceptation and action. In Alberti's thought, the notion of nature is used to philosophically unify the points of view, while respecting the interactions between reality, fortune, reason and human's nature
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PIGNATARO, ROSA. "LA FINESTRA COME SPAZIO METAFORICO NELLA LETTERATURA SPAGNOLA: RIFLESSIONI SULLA POETICA DI RAFAEL ALBERTI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/16894.
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L’obiettivo della presente ricerca è stato cercare di dimostrare come la finestra, da innocuo dispositivo ottico e spaziale, completi molte delle osservazioni tradizionali della critica, fornendo un’ulteriore chiave di lettura nell’interpretazione del procedimento creativo nelle opere analizzate. Partendo da una veloce silloge della ricorrenza del termine nella letteratura classica e italiana, si passa alla presentazione dell’evoluzione tematica della finestra nell’ambito della letteratura spagnola focalizzando l’analisi su alcuni modelli in cui il nucleo della finestra si configura come struttura generativa di un’intera opera letteraria. Con il terzo capitolo si entra nella parte monografica della ricerca: la finestra sembrerebbe un facile simbolo nella produzione letteraria di un poeta esiliato, poiché l’affaccio a un davanzale è un proiettarsi idealmente verso la patria perduta. In realtà, selezionando la vastissima produzione letteraria di Rafael Alberti, la ricorrenza della finestra permette di tracciare un iter tematico nella vicenda biografica e artistica del poeta, dall’infanzia alla maturità. Nell’ultimo capitolo, invece, oggetto d’analisi è El Adefesio, un’opera teatrale composta da Alberti durante l’esilio argentino. Questa volta le finestre si chiudono e le mura domestiche si trasformano in un’intollerabile prigione generando quasi una dimensione di claustrofobia, espressione di un nuovo teatro che parla di negazione e di censura.The aim of this research is to attempt to show how the ‘window’, a harmless optical and spatial device, completes many of the traditional observations of the critic, providing another key to the reading in the interpretation of the creative process in the analyzed works. Starting with a quick compilation of the recurrence of the term in Classical and Italian literature, the reaserch focuses on the analysis of the evolution of the word in Spanish literature with some models in which the window is configured as the generative structure of an entire literary work. The third chapter confronts the monographic part of the research: the window would seem an easy symbol in the literary production of an exiled poet, since gazing through a window could be seen as a projection of the artist towards his or her estranged homeland. In reality, by selecting the vast literary production of Rafael Alberti, the recurrence of the word ‘window’ allows us to trace a thematic procedure in the biographical and artistic life of the poet, from childhood to maturity. In the last chapter, the subject of analysis is El Adefesio, a play composed by Alberti during his Argentinian exile. This time the windows are closed and the walls becomes an intolerable prison generating an almost claustrophobic mood, expression of a new theater that speaks of denial and censorship
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PIGNATARO, ROSA. "LA FINESTRA COME SPAZIO METAFORICO NELLA LETTERATURA SPAGNOLA: RIFLESSIONI SULLA POETICA DI RAFAEL ALBERTI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/16894.
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L’obiettivo della presente ricerca è stato cercare di dimostrare come la finestra, da innocuo dispositivo ottico e spaziale, completi molte delle osservazioni tradizionali della critica, fornendo un’ulteriore chiave di lettura nell’interpretazione del procedimento creativo nelle opere analizzate. Partendo da una veloce silloge della ricorrenza del termine nella letteratura classica e italiana, si passa alla presentazione dell’evoluzione tematica della finestra nell’ambito della letteratura spagnola focalizzando l’analisi su alcuni modelli in cui il nucleo della finestra si configura come struttura generativa di un’intera opera letteraria. Con il terzo capitolo si entra nella parte monografica della ricerca: la finestra sembrerebbe un facile simbolo nella produzione letteraria di un poeta esiliato, poiché l’affaccio a un davanzale è un proiettarsi idealmente verso la patria perduta. In realtà, selezionando la vastissima produzione letteraria di Rafael Alberti, la ricorrenza della finestra permette di tracciare un iter tematico nella vicenda biografica e artistica del poeta, dall’infanzia alla maturità. Nell’ultimo capitolo, invece, oggetto d’analisi è El Adefesio, un’opera teatrale composta da Alberti durante l’esilio argentino. Questa volta le finestre si chiudono e le mura domestiche si trasformano in un’intollerabile prigione generando quasi una dimensione di claustrofobia, espressione di un nuovo teatro che parla di negazione e di censura.The aim of this research is to attempt to show how the ‘window’, a harmless optical and spatial device, completes many of the traditional observations of the critic, providing another key to the reading in the interpretation of the creative process in the analyzed works. Starting with a quick compilation of the recurrence of the term in Classical and Italian literature, the reaserch focuses on the analysis of the evolution of the word in Spanish literature with some models in which the window is configured as the generative structure of an entire literary work. The third chapter confronts the monographic part of the research: the window would seem an easy symbol in the literary production of an exiled poet, since gazing through a window could be seen as a projection of the artist towards his or her estranged homeland. In reality, by selecting the vast literary production of Rafael Alberti, the recurrence of the word ‘window’ allows us to trace a thematic procedure in the biographical and artistic life of the poet, from childhood to maturity. In the last chapter, the subject of analysis is El Adefesio, a play composed by Alberti during his Argentinian exile. This time the windows are closed and the walls becomes an intolerable prison generating an almost claustrophobic mood, expression of a new theater that speaks of denial and censorship
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Cittadini, Lorenzo <1990>. "Historia e identitad mediterránea: el exilio en María Zambrano, Rafael Alberti y Luis Cernuda." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15386.
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Mediterranean history and identity: the exile of Maria Zambrano, Rafael Alberti and Luis Cernuda
The following dissertation deals with the study of the main events that distinguish the history of the mediterranean area. The analysis aims at individuating differences and similarities between the several ways of living and thinking of the countries that share the same geographical area. The introduction and the first part works as an historical overview which helps to identify the main cultures that emerged along the centuries and how they mixed each other. The second one proposes the analysis of the main works of Maria Zambrano, her vision of the exile during the dictatorship of Franco in Spain. Thanks to her message and other Spanish authors like Rafael Alberti and Luis Cernuda who lived the same condition, the exile, although attempts of silencing, enhances a voice that is constantly listened in this places where the exiles were expelled from. The exile is a revelation and proposes a set of new possibilities that helps the man to abandon discriminatory positions in order to build a new system of beliefs. Finally, the third part is devoted to the concepts of identity, borders, memory, religion and globalization, the heritage of the millenarian collision-meeting in the Mediterranean. This section makes use of the most important sociological, anthropological and poetical points of view to know how this space has changed towards positions of closure and oppressions.
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Serio, Valentina. "La Repubblica dei pazzi. Melancolia e follia nel discorso politico da Alberti a Shakespeare." Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86226.
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Santos, Lucas Reis. "Leon Battista Alberti (1404 1472) e a medida do tempo em sua obra matemática lúdica." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/11002.
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Previous issue date: 2014-09-02Currently we have many tools to help us measure various quantities (distances, heights, weights, time, etc.). However, to use them, we do not realize what it means to measure. In other terms, such instruments, mostly, does not allow us to reflect on some questions related to the concepts of what is a measure. We understand that the process of measuring a part of human activity and its approach is of great importance. Although the context of quantities and measures will be widely discussed in the early years and in the final years of primary school II, does not always allow the teacher to reflect on what is measured, since this measure has content only in their mathematical and arithmetical character. Assuming that it is important to explore the measures and quantities in their meaning, we seek to discuss this work on the measurement of time by means of an analysis of the procedures described in the work Ludic Mathematics, produced by Leon Battista Alberti (1404 - 1472) in mid-fifteenth century. Modestly, we seek here to provide math teacher a history of mathematics of the fifteenth century, based on current historiographical trends, pointing to issues that are at stake in making the history of mathematics, presenting a story that is not based on grand narratives
Dispomos atualmente de muitos instrumentos para nos auxiliar a mensurar diversas grandezas (distâncias, alturas, pesos, tempo, entre outras). Entretanto, ao utilizá-los, não nos damos conta do que significa medir. Em outros termos, tais instrumentos, em sua maioria, não nos permite refletir sobre algumas questões ligadas às concepções do que é uma medida. Entendemos que o processo de medir faz parte da atividade humana e sua abordagem é de grande importância. Embora o conteúdo de grandezas e medidas seja amplamente abordado nos anos iniciais e nos anos finais do ensino fundamental II, nem sempre permite ao professor refletir sobre o que seja medir, visto que tal conteúdo apresenta a medida apenas em seu caráter matemático e aritmético. Partindo do pressuposto de que é importante explorar as medidas e as grandezas em seu significado, buscamos discorrer neste trabalho sobre a medida do tempo por meio de uma análise dos procedimentos descritos na obra Matemática Lúdica, produzida por Leon Battista Alberti (1404 1472) em meados do século XV. De forma modesta, buscamos aqui oferecer ao professor de matemática uma história da matemática do século XV, pautada em tendências historiográficas atuais, apontando para questões que estão em pauta no fazer da história da Matemática, apresentando uma história que não se baseia em grandes narrativas
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Oliveira, Roberto Silva de. "A cidade e o pensamento político de Leon Battista Alberti no De Re Aedificatoria e outros escritos." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/11989.
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Considerado o “Vitrúvio Florentino”, Leon Battista Alberti legou à Modernidade extensa obra de caráter filosófico, político e técnico, em que se destaca o De Re Ædificatoria, ou o Tratado de Arquitetura, como ficou mais conhecido. Sob a influência da Antiguidade Clássica, especialmente das obras de Vitrúvio, Platão, Aristóteles e Cícero, o De Re Ædificatoria constituiu-se no marco fundamental da arquitetura na Idade Moderna. Objetiva-se com este trabalho analisar o pensamento arquitetônico e urbanístico de Alberti assim como suas implicações políticas no âmbito do humanismo cívico do século XV. Foram utilizados para o exame da obra os conceitos de representações sociais, de práticas culturais e de identidade/alteridade. Em termos metodológicos, a referência é o Estruturalismo genético de Lucien Goldmann, que orientou a organização do trabalho em três capítulos, sendo o primeiro uma exposição do contexto histórico no qual Alberti e sua obra tiveram origem; o segundo, uma apresentação da tradição literária que fundamentava as discussões políticas do humanismo da época; e o terceiro, uma análise do discurso apresentado por ele no De Re Ædificatoria. Estas partes articuladas permitem verificar que o discurso albertiano prestou importante contribuição à arquitetura, ao urbanismo e à filosofia política do Mundo Moderno.
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Quirós, Fernández Maria Teresa. "Stereophonie der Autobiographie autobiographisches Schreiben von Paaren am Beispiel von María Teresa León und Rafael Alberti." Tübingen Niemeyer, 2008. http://d-nb.info/992664888/04.
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Munhoz, Solange Chagas do Nascimento. "Bastidores de Papeles de Son Armadans: as correspondências. Cela e os exilados: Alberti, Aub, Castro e Emilio Prados." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-09102015-142726/.
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Esta tese propõe a análise das cartas trocadas entre Camilo José Cela e os escritores Rafael Alberti, Max Aub, Américo Castro e Emilio Prados, durante as décadas de 50 a 70, reunidas no livro Correspondencia con el exilio (2009). Nessas correspondências, que se configuram como território textual de sociabilidade, examinamos a articulação entre os carteadores para fazer circular as obras dos escritores exilados na Espanha franquista, seja na revista Papeles de Son Armadans seja na editora Alfaguara. O estudo demonstra, ainda, a relevância da interlocução para o projeto de Cela de evidenciar sua atuação como mediador cultural entre o exílio e a península.This thesis aims to analyze the exchanged letters between Camilo José Cela and the writers Rafael Alberti, Max Aub, Américo Castro and Emilio Prados, during the decades of 50 to 70\'s, gathered in the book Correspondencia con el exilio (2009). In these correspondences, which configure themselves as a textual territorial of sociability, we examine the articulation between the correspondents in order to circulate the writers collected works exiled in franquist Spain, in both Papeles de Son Armadans magazine and Alfaguara publisher house. The study yet demonstrates the relevance of the interlocution for the Cela\'s project of evidence his performance as a cultural mediator between the exile and peninsula.
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Onecha, Pérez Ana Belén. "Una nueva aproximación al "De re aedificatoria" de Leon Battista Alberti: los conocimientos constructivos y sus fuentes." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/96785.
Full textAbstract:
El "De re aedificatoria", segundo tratado conocido de arquitectura en la historia y escrito entre 1443 y 1452 por Leon Battista Alberti, es uno de los textos arquitectónicos más estudiados. La época histórica a la que pertenece, el renacimiento; los lazos que lo ligan a épocas pasadas esplendorosas; la teoría expuesta sobre las proporciones,
derivada de los estándares greco-romanos; y el interés por el personaje que lo escribió,
han sido los grandes enfoques a través de las cuales se ha abordado incesantemente
el documento.
Sin embargo, y a pesar de ser considerado un tratado técnico por la mayoría de
autores, nunca se ha estudiado desde el punto de vista de los contenidos sobre
construcción que incorpora, quizá precisamente porque entre esos autores los
arquitectos constituyen minoría respecto a los historiadores y literatos.
Otro aspecto desconocido, pero ligado directamente al anterior, es el origen de los
conocimientos constructivos de Alberti, puesto que aún siendo el autor de proyectos
que se desarrollaban durante la redacción del tratado, como el Palacio Rucellai en
Florencia o el Templo Malatestiano en Rímini, está documentado que los directores de
obra respectivos fueron Bernardo Rossellino y Mateo di Pasti.
Esta memoria de tesis identifica, contrasta y analiza todos los conocimientos
constructivos que aparecen descritos en el De re aedificatoria, muchos de ellos por
primera vez en la historia, así como las fuentes que les son asociadas, con la intención
de demostrar que los conocimientos constructivos no solo son verídicos y muy
abundantes, sino que constituyen un verdadero corpus del saber arquitectónico.
Además, se analizan y sistematizan las fuentes para determinar hasta qué punto son
verídicas o son solo una manera de autorizarse recurriendo a la antigüedad."De re aedificatoria" second architectural treatise known in history, written between 1443 and 1452 by Leon Battista Alberti, is one of the most studied architectural texts. The historical period to which it belongs, the Renaissance, the ties that bind it to a splendid past, the proportions theory derived from Greco- Roman standards, and the interest in the person who wrote it, have been the big approaches through which the experts have incessantly studied it. However, and despite being considered as a technical treatise by most authors, It has never been studied from the point of view of contents incorporating construction, perhaps precisely because among these authors the architects are a minority in comparison with historians and writers. Another unknown topic, but directly linked to above, is the source of Alberti’s constructive knowledge, because despite being the author of projects that were developed during the drafting of the treatise, as the Rucellai Palace in Florence or Malatesta Temple in Rimini, it is documented that the respective project managers were Bernardo Rossellino and Matthew di Pasti, so that is quite feasible that Alberti was not involved heavily in his works. From a thorough study of the treatise, making use of various translations of the same, even the original Latin, have been extracted all the bits that refer to constructive aspects, analyzing them by using tabs and summary tables by type and source of constructive knowledge. Thus, this PhD dissertation identifies, contrasts and analyzes all constructive knowledge is described in the De re aedificatoria, many for the first time in history, and sources associated to them, intending to show that constructive knowledge is true and not only abundant, but are a real body of architectural knowledge that structures the entire treatise. It Has also been analyzed and systematized knowledge concerning such sources to determine to what extent they are real or just a way of getting authority by using the classical culture. The findings are based on considerations that incorporate a reflection on the true structure of the treatise, going through the Alberti enlargement of architectural purposes with respect to the Vitruvian triad, to finish determining the treatise corpus of construction knowledge raised by the author under a new approach to history, true content, but of undetermined origin.
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Onecha, Pérez Ana Belen. "Una Nueva aproximación al De re aedificatoria de Leon Battista Alberti: los conocimientos constructivos y sus fuentes." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/96785.
Full textAbstract:
El De re aedificatoria, segundo tratado conocido de arquitectura en la historia y escrito
entre 1443 y 1452 por Leon Battista Alberti, es uno de los textos arquitectónicos más
estudiados. La época histórica a la que pertenece, el renacimiento; los lazos que lo
ligan a épocas pasadas esplendorosas; la teoría expuesta sobre las proporciones,
derivada de los estándares greco-romanos; y el interés por el personaje que lo escribió,
han sido los grandes enfoques a través de las cuales se ha abordado incesantemente
el documento.
Sin embargo, y a pesar de ser considerado un tratado técnico por la mayoría de
autores, nunca se ha estudiado desde el punto de vista de los contenidos sobre
construcción que incorpora, quizá precisamente porque entre esos autores los
arquitectos constituyen minoría respecto a los historiadores y literatos.
Otro aspecto desconocido, pero ligado directamente al anterior, es el origen de los
conocimientos constructivos de Alberti, puesto que aún siendo el autor de proyectos
que se desarrollaban durante la redacción del tratado, como el Palacio Rucellai en
Florencia o el Templo Malatestiano en Rímini, está documentado que los directores de
obra respectivos fueron Bernardo Rossellino y Mateo di Pasti.
Esta memoria de tesis identifica, contrasta y analiza todos los conocimientos
constructivos que aparecen descritos en el De re aedificatoria, muchos de ellos por
primera vez en la historia, así como las fuentes que les son asociadas, con la intención
de demostrar que los conocimientos constructivos no solo son verídicos y muy
abundantes, sino que constituyen un verdadero corpus del saber arquitectónico.
Además, se analizan y sistematizan las fuentes para determinar hasta qué punto son
verídicas o son solo una manera de autorizarse recurriendo a la antigüedad.De re aedificatoria second architectural treatise known in history, written between 1443 and 1452 by Leon Battista Alberti, is one of the most studied architectural texts. The historical period to which it belongs, the Renaissance, the ties that bind it to a splendid past, the proportions theory derived from Greco- Roman standards, and the interest in the person who wrote it, have been the big approaches through which the experts have incessantly studied it. However, and despite being considered as a technical treatise by most authors, It has never been studied from the point of view of contents incorporating construction, perhaps precisely because among these authors the architects are a minority in comparison with historians and writers. Another unknown topic, but directly linked to above, is the source of Alberti’s constructive knowledge, because despite being the author of projects that were developed during the drafting of the treatise, as the Rucellai Palace in Florence or Malatesta Temple in Rimini, it is documented that the respective project managers were Bernardo Rossellino and Matthew di Pasti, so that is quite feasible that Alberti was not involved heavily in his works. From a thorough study of the treatise, making use of various translations of the same, even the original Latin, have been extracted all the bits that refer to constructive aspects, analyzing them by using tabs and summary tables by type and source of constructive knowledge. Thus, this PhD dissertation identifies, contrasts and analyzes all constructive knowledge is described in the De re aedificatoria, many for the first time in history, and sources associated to them, intending to show that constructive knowledge is true and not only abundant, but are a real body of architectural knowledge that structures the entire treatise. It Has also been analyzed and systematized knowledge concerning such sources to determine to what extent they are real or just a way of getting authority by using the classical culture. The findings are based on considerations that incorporate a reflection on the true structure of the treatise, going through the Alberti enlargement of architectural purposes with respect to the Vitruvian triad, to finish determining the treatise corpus of construction knowledge raised by the author under a new approach to history, true content, but of undetermined origin.
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Lauteri, Gianluca [Verfasser], Stephan [Akademischer Betreuer] Luckhaus, and Giovanni [Gutachter] Alberti. "The Emergence of Cosserat-type Structures in Metal Plasticity / Gianluca Lauteri ; Gutachter: Giovanni Alberti ; Betreuer: Stephan Luckhaus." Leipzig : Universitätsbibliothek Leipzig, 2017. http://d-nb.info/1241064547/34.
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Guérin, Philippe. "Dialogue et formes dialogiques au Quattrocento : Leon Battista Alberti et la naissance du dialogue en langue vulgaire." Paris 3, 1995. http://www.theses.fr/1996PA030088.
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L'entreprise de refondation des "artes sermocinales" en italie au quattrocento rencontre avec le dialogue un terrain d'expression privilegie. Parce que la production du sens est ouvertement solidaire des procedures enonciatives que le texte dialogue met en oeuvre, la releve de cette forme litteraire semble devoir susciter aujourd'hui chez l'interprete un ensemble de questions surgissant sur l'horizon de l'interet contemporain pour le langage, tel qu'il se manifeste en philosophie, linguistique, theorie de la litterature (cf. Les champs et notions de pragmatique, rhetorique, enonciation, etc. ). La mise au clair de cette relation hermeneutique a pour ambition de renouveler pour partie l'intelligibilite de toute une serie de textes caracteristiques de la periode consideree. L'affirmation des vertus heuristiques, mais aussi ethiques, de la confrontation des opinions, la prise en compte des necessites argumentatives, acquierent un relief particulier chez leon battista alberti (1404-1472), "inventeur" du dialogue en langue vulgaire. La nouvelle figure du "sujet parlant" qui s'y dessine est indissociable des choix linguistiques operes par l'auteur des libri della famiglia (1433-34 et 1437), du theogenius (vers 1440) et des profugiorum ab aerumna libri (vers 1442). Grace a l'analyse de ces textes dans leur dimension dialogue propre, nous voyons se constituer, dans et par l'exercice du langage, un modele de relations harmonieuses constituant le contre-type des egarements et des deviances que fustige par ailleurs l'alberti latin sous les especes de l'ironie, de la parodie, du paradoxe. La "legittima costruzione" des dialogues vulgaires albertiens fonde un "jeu dialogique" qui ne cesse d'exhiber les conditions de possibilite d'une "communicabilite" repenseeAn attempt to refund the "artes sermocinales" in the italian quattrocento finds in the dialogue a most fertile ground to express itself. Since the production of meaning is overtly linked to the enunciative procedures used in the dialogue, the revival of this literary form is apt to raiseamong contemporary critics - a set of questions which proceed from a current and obvious interest for language, as witnessed in philosophy, linguistics and literary theories (ef. The fields and notions of pragmatics, rhetoric, enunciation. . . ). Clarifying such an hermeneutic relationsip intends to renew the understanding of a whole series of texts typical of the period. Asserting the heuristic and ethic virtues of debates and allowing for the constraints of argumentation tend to play a growing part in the works of leon battista alberti (1404-1472). The "inventor" of the vulgar dialogue. The new type of "speaking subject" who emerges therefrom cannot be dissociated from the linguistic choices made by the author of libri della famiglia (1433-34 and 1437), theogenius (c. 1440) and profugiorum ab aerumna libri (e. 1442). Through a careful analysis of the dialogic facture of these texts, one can observe, in the practical use of language, the advent of a model of harmonious relationships which standas the very opposite of the erring ways and other deviations that the latin alberti fustigates through irony, parody and paradox. The "legitima costruzione" of alberti's vulgar dialogues lays the foundations of a "dialogic play" which continuously features the prerequisites of a reconsidered "communicability"
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Moss, Grant Daryl. "Political Poetry in the Wake of the Second Spanish Republic: Rafael Alberti, Pablo Neruda, and Nicolas Guillen." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280872939.
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