Dissertations / Theses on the topic 'Allegorical'
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Brittain, William Delaplaine. "An allegorical park." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53252.
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genius loci
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-Bagavad GitaMaster of Architecture
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Folkerth, Wes 1964. "Nathaniel Hawthorne's subversive use of allegorical conventions." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56665.
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The literary and socio-political environments of early nineteenth-century America demanded from Hawthorne a new formulation of the allegorical mode, which in turn afforded him means to critique that same historical situation. His metonymic and realistic uses of allegorical techniques invert the emphasis of traditional allegory, permitting him subversively to critique the idealist principles of contemporary historiography and the Transcendentalist movement. Hawthorne's discontent with antebellum historiography's conflation of the Puritan colonists and the Revolutionary fathers, and with Transcendentalism's disregard for the darker side of human nature, led him to critique these idealisms in his fictions. His appropriation of allegorical conventions allowed him to enact this critique subversively, without alienating the increasingly nationalistic American reading public. This subversive program exerts a global influence on Hawthorne's work. The first chapter of this thesis defines my use of the term "allegory." The second situates Hawthorne within the allegorical tradition, the third within the American ideological context. The last two chapters identify and discuss Hawthorne's appropriations of the allegorical conventions of personification and procession as they are found in each of the three forms in which he most commonly wrote: the sketch, the tale, and the historical romance.
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Goodwin, Thomas William. "A crypto-allegorical theory of psychoanalytic reading." Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522437.
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Slefinger, John T. "Refashioning Allegorical Imagery: From Langland to Spenser." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu150048449869678.
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Ullén, Magnus. "The half-vanished structure : Hawthorne's allegorical dialectics /." Uppsala : [Uppsala universitet], 2001. http://catalogue.bnf.fr/ark:/12148/cb392291809.
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Dawson, David. "Allegorical readers and cultural revision in ancient Alexandria /." Berkeley (Calif.) ; Los Angeles (Calif.) ; Oxford : University of California press, 1992. http://catalogue.bnf.fr/ark:/12148/cb37062348w.
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Jenckes, Katharine Miller. "Borges, Benjamin, and the allegorical writing of history /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3035568.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 228-233). Also available for download via the World Wide Web; free to University of Oregon users.
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Gummesson, Katja. "William Blake's The Chimney Sweeper : - A Stylistic and Allegorical Study." Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-19773.
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Vaccaro, Jacob. "Mythical, historical and allegorical narratives in Till we have faces." Diss., Connect to the thesis, 1998. http://hdl.handle.net/10066/1477.
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Liddle, Helena Francisca Gaspar. "Thread of Scottishness : mapping the allegorical tapestry of Scottish literature." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/6579.
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Scottish authors throughout the ages have linked their art to their nationality. When the contemporary writer A. L. Kennedy observes, 'I believe that fiction with a thread of Scottishness in its truth has helped me to know how to be myself as a Scot,' she pinpoints the value of literature for both her predecessors and peers. However, the idea of Scottish literature as an autonomous and coherent national literature is controversial. Questions concerning self-sufficiency, unity, and value continue to haunt the idea of a Scottish literary tradition. Many studies have attempted to address the stereotype of Scottish literature's fragmentation and its place as a sub-category within English literature; however, few critical works have considered specific literary forms as constituting a basis for the Scottish literary consciousness. 'A Thread of Scottishness' argues that Scottish literature uniquely sustains an allegorical framework traceable from the Middle Ages and the Renaissance to the present. Chapter one discusses allegory's history, definition and relationship with the reader. Chapters two, three, and four focus upon the specific theoretical strands of the Scottish allegorical form: nature, nationalism, and morality, respectively. Each of these three chapters begins with a discussion of works from the medieval period and follows the progression of the Scots' use of allegory through time. More modern works, including S. Ferrier's Marriage, R. L. Stevenson's The Master of Ballantrae, N. Shepherd's The Weatherhouse, are shown to reflect the narrative traditions of medieval and Renaissance texts, such as R. Henryson's Morall Fabillis and The Testament of Cresseid, King James I's The Kingis Quair, and Sir D. Lindsay's Ane Satyre of the Thrie Estaitis. Thus, through a consideration of the use of allegory within specific Scottish texts, I posit continuity for Scottish literature as a whole.
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Alonso, Mira Miguel. "The romantic use of flamingos in a Spanish political allegorical film." Thesis, Montana State University, 2012. http://etd.lib.montana.edu/etd/2012/alonso_mira/Alonso_MiraM0812.pdf.
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Not many filmmakers have explored using animals to portray, for example, a political conflict allegorically. George Franju and FeÌlix RodriÌguez de la Fuente resorted to animals in their films to criticize the political environment of their time, the Nazi administration of Paris for the former, and the Franco dictatorship for the later. They showed morbid and gruesome scenes of animals being slaughtered to illustrate symbolically the violent atmosphere that impregnated the life of the French and the Spanish citizens in those difficult years. Inspired by their work, I have produced 'Salma: A Wingless Nomad', a film that presents the political conflict of Western Sahara through the fictional story of a young Sahrawi refugee whose only way of connecting with reality and the memories of her childhood is through the images of flamingos. For her, flamingos incarnate the freedom her people lost when, consecutively, Spain and Morocco invaded them. They also represent the nomadic tradition of her ancestors, a way of life that she romanticizes as the true identity of the Sahrawis. In this essay, I compare my film with the work of Franju and RodriÌguez de la Fuente, providing an analysis on how I built the allegory around the natural history of flamingos. I conclude by saying that even though Franju's and RodriÌguez de la Fuente's morbid use of 'mise en scene' was effective to depict the violence of the Nazi and the Falangist regimes, my film took a different approach; one that would romantically reveal the reason why the Sahrawis suffered, which wasn't violence or death, but the lack of freedom.
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Butler, Charles. "Spenser's allegorical decorum : analogical and exemplary allegory in 'The Faerie Queene'." Thesis, University of York, 1989. http://etheses.whiterose.ac.uk/10894/.
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Strongman, Roberto. "Allegorical I/lands : personal and national development in Caribbean autobiographical writing /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3090454.
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Jefferson, Wayne Hugh. "The educational purpose of art : a study of the life and works of G.F. Watts." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327608.
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Moore, Stephen Gerard. "A shifting paradigm, the act of reading actors in medieval allegorical narrative." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0002/NQ27841.pdf.
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Fraser, Terrie A., and tfra5205@bigpod net au. "The Allegorical Fold. Evoking physical and psychological presence and absence in the painting of folded fabric." RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080828.152600.
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In this project notions of presence and absence will be explored through a study of 'the fold'. I will closely examine a number of paintings that depict folded drapery or cloth and from this examination I will select examples that evoke a response in me to these fundamental states of being, My objective is to produce a body of paintings that explore the structure of the fold and its expression through light, shadow and darkness to develop a range of images that metaphorically represent these phenomena and the possibility of a relational field between the two. This examination will re-present, reinterpret, fragment and transform the selected images using the materials of oil painting and drawing to visualize my response to the changing perceptions of this phenomenon. This investigation is informed by philosophical and psychoanalytical writings that explore the phenomenology of states of presence and absence. In part, these states are suggested by other terminologies, for example, form and space or volume and void. The project draws on the work of writers who have examined and changed perceptions of this phenomenon, particularly where they attribute the structure of absence to contribute to an understanding of subjectivity, question the favouring of presence in Western thought and explore the relationship between the two.
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Luo, Meng Jin. "A study of translations of two-part allegorical sayings in Hong Lou Meng." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525528.
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Brendel, Maria Lydia. "Allegorical truth-telling via the feminine Baroque : Rubens' material reality : reframing Het pelsken." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ55305.pdf.
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Zlatescu, Andrei-Paul. "Prospero's planet, magic, utopian and allegorical injuctions in the rise of the modern state." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq30837.pdf.
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Ryu, Bobby Jang Sun. "Knowledge of God in Philo of Alexandria with special reference to the Allegorical Commentary." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3a849607-f23b-4d0f-b25f-51e084795c83.
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This thesis is a context-sensitive study of key epistemological commitments and concerns presented in Philo’s two series of exegetical writings. The major conclusion advanced in this thesis is that two theological epistemologies, distinct yet related, can be detected among these writings. The first epistemology is specific to the Allegorical Commentary. The second epistemology is specific to the ‘Exposition of the Law.’ The epistemology of the Allegorical Commentary reflects a threefold conviction: the sovereignty of God, the creaturely contingency of the human mind and its inescapable limitations. In conversation with key epistemological notions of his day, Philo develops this threefold conviction in exegetical discourses that are grounded in Pentateuchal texts portraying the God of Moses as both possessing epistemic authority and aiding the aspiring mind to gain purification and perfection in the knowledge of God. Guided by this threefold conviction, Philo enlists key metaphors of his day – initiation into divine mysteries and divine inspiration, among others –in order to capture something of the essence of Moses’ twofold way of ascending to the divine, an approach which requires at times the enhancement of human reason and at other times the eviction of human reason. The epistemology of the ‘Exposition’ reflects Philo’s understanding of the Pentateuch as a perfect whole partitioned into three distinct yet inseverable parts. Philo’s knowledge discourses in the ‘creation’ part of the ‘Exposition’ reflect two primary movements of thought. The first is heavily invested with a Platonic reading of Genesis 1.27 while the second invests Genesis 2.7 with a mixture of Platonic and Stoic notions of human transformation and well-being. Philo’s discourses in the ‘patriarchs’ segment reflect an interest in portraying the three great patriarchs as exemplars of the virtues of instruction (Abraham), nature (Isaac), and practice (Jacob) which featured prominently in Greek models of education. In the ‘Moses’ segment of the ‘Exposition,’ many of Philo’s discourses on knowledge are marked by an interest in presenting Moses as the ideal king, lawgiver, prophet and priest who surpasses Plato’s paradigm of the philosopher-king. In keeping with this view, Philo insists that the written laws of Moses represent the perfect counterpart to the unwritten law of nature. The life and laws of Moses serve as the paradigm for Philo to understand his own experiences of noetic ascent and exhort readers to cultivate similar aspirational notions and practices.
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Otto, Jennifer. "Reason, revelation and ridicule: assessing the criteria for authoritative allegorical interpretations in Philo and Augustine." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67046.
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This thesis explores the interplay between reason and revelation in determining authoritative allegorical exegeses of Old Testament texts. Departing from Augustine's ridiculing of Philo's exegesis of the Ark door in Genesis 6:16 as a human anus, this thesis examines the criteria by which Augustine is able to assert that said door is correctly to be identified as the wounds of Christ. Both exegetes understand allegorical interpretation to be a rational exercise, following similar philosophically-derived exegetical principles. However, both Philo and Augustine agree that meaningful allegorical truths can only be discerned from texts whose divine provenance and authority is determined by revelation experienced either by the reader himself or a reliable witness. The conceptualization of salvation both as understood rationally and as experienced beyond reason is a crucial point of divergence. Philo's exegesis– taken by Augustine as representative of contemporary Jewish praxis– is ridiculous not in its methodology but in its failure to recognize the salvific presence of Christ within the Genesis text revealed through the Incarnation.Cette thèse examine l'entremêlement des rôles de la raison et de la révélation déterminant l'autorité des exégèses allégoriques de l'Ancien Testament. Abordant l'analyse par la dérision d'Augustin envers l'exégèse de Philo qui interprète le portail de l'Arche du livre Genèse 6 :16 comme un anus humain, cette thèse explore les critères par lesquelles Augustin, lui, revendique que le portail soit interprète comme étant les plaies du Christ. Les deux exégètes comprennent que l'interprétation allégorique est une exercice rationnelle dont l'exégèse se voit déterminée par des principes philosophiques. Philo et Augustin s'entendent toutefois que des vérités allégoriques pertinentes peuvent seulement être discernées par une révélation vécue soit par le lecteur soit un témoin fiable. Le point de divergence se voit dans l'idée de la conceptualisation du salut par la logique ainsi que par comment celui-ci s'interprète au-delà de raison. L'exégèse de Philo, ainsi considéré par Augustin comme représentatif de la praxis de la communauté Juive de l'époque, est traitée de ridicule non pas a cause de sa méthodologie, mais pour son incapacité d'apercevoir la présence rédemptrice du Christ dans le texte de Genèse révélée de par l'Incarnation.
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Wheeler, Martin Clive. "The sacred fury of George Chapman : aspects of neo-Platonism in his major allegorical poetry." Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273357.
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Jean, Nils L. M. "Digital debris of Internet Art : an allegorical and entropic resistance to the epistemology of search." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1707/.
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This Ph.D., by thesis, proposes a speculative lens to read Internet Art via the concept of digital debris. In order to do so, the research explores the idea of digital debris in Internet Art from 1993 to 2011 in a series of nine case studies. Here, digital debris are understood as words typed in search engines and which then disappear; bits of obsolete codes which are lingering on the Internet, abandoned website, broken links or pieces of ephemeral information circulating on the Internet and which are used as a material by practitioners. In this context, the thesis asks what are digital debris? The thesis argues that the digital debris of Internet Art represent an allegorical and entropic resistance to the what Art Historian David Joselit calls the Epistemology of Search. The ambition of the research is to develop a language inRbetween the agency of the artist and the autonomy of the algorithm, as a way of introducing Internet Art to a pluridisciplinary audience, hence the presence of the comparative studies unfolding throughout the thesis, between Internet Art and pionners in the recycling of waste in art, the use of instructions as a medium and the programming of poetry. While many anthropological and ethnographical studies are concerned with the material object of the computer as debris once it becomes obsolete, very few studies have analysed waste as discarded data. The research shifts the focus from an industrial production of digital debris (such as pieces of hardware) to obsolete pieces of information in art practice. The research demonstrates that illustrations of such considerations can be found, for instance, in Cory Arcangel's work Data'Diaries (2001) where QuickTime files are stolen, disassembled, and then reRused in new displays. The thesis also looks at Jodi's approach in Jodi.org (1993) and Asdfg'(1998), where websites and hyperlinks are detourned, deconstructed, and presented in abstract collages that reveals the architecture of the Internet. The research starts in a typological manner and classifies the pieces of Internet Art according to the structure at play in the work. Indeed if some online works dealing with discarded documents offer a selfRcontained and closed system, others nurture the idea of openness and unpredictability. The thesis foregrounds the ideas generated through the artworks and interprets how those latter are visually constructed and displayed. Not only does the research questions the status of digital debris once they are incorporated into art practice but it also examine the method according to which they are retrieved, manipulated and displayed to submit that digital debris of Internet Art are the result of both semantic and automated processes, rendering them both an object of discourse and a technical reality. Finally, in order to frame the serendipity and processRbased nature of the digital debris, the Ph.D. concludes that digital debris are entropic . In other words that they are items of language toRbe, paradoxically locked in a constant state of realisation.
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Faiq, Tatheer Assim. "Allegorical and Cultural Landscapes in the Novels of Nathaniel Hawthorne and Al- Nahda Arab Writers." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367596.
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The fictional works of American author Nathaniel Hawthorne and the Arab writers, Mohammadd al-Muwaylihi and Kahlil Gibran share an interest in allegorical landscapes which respond to political and religious tyranny. Throughout their novels, we encounter historically specific images of political corruption and religious oppression located among the urban settings of Salem, Rome, Cairo, Paris, Baalbek, and Beirut. In this thesis, these settings are considered as cultural landscapes: geographical sites which are perceived and presented allegorically within a socio-political frame. These landscapes are drawn on both realist and symbolic levels.
Nathaniel Hawthorne presents the shameful burden of religious and political oppression. In works such as The Scarlet Letter and The Marble Faun where is characters are engaged in a rebellion against their cultural institutions to show the defects of such religious and political institutions. For Hawthorne, Boston forest becomes a place that witnesses the birth of the new female rebel to defy the very foundations of the Puritan society. Rome becomes a historical setting where crime survives during the course of the rise and fall of civilisations as reflected in art galleries, churches and ruins: a reality of human destruction that is equally recognized by American and European characters.
Al- Muwaylihi’s Hadith Isa Ibn Hisham draws a socio political picture of Egyptian life through the representation of nineteenth century Cairo with its complex streets and buildings. In his second part of the book, al- Muwaylihi presents a journey from Cairo to Paris in which his characters, brutalized by colonial practices, seek the values of modernity at the heart of Europe. Such a journey defied the political and Islamic institutions of his age. For al- Muwaylihi, Parisian sites are symbols of technology and modernity, while Cairo emblematizes the city of conflict as the inhabitants face new social changes through encounters with the European colonizers.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Tantoush, Mansour Ali. "Analysis of selected allegorical Qur’anic verses with specific reference to Sūrat Yūsuf: A hermeneutic approach." University of the Western Cape, 2019. http://hdl.handle.net/11394/6665.
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Philosophiae Doctor - PhDArabic is the language of the Holy Qur'an, which was revealed to the Prophet Mohammed (may the peace and blessings of Allah be upon him) who in turn dictates it to His companions. The Prophet's companions did not encounter any difficulty in the understanding and comprehension of the Qur‘anic verses simply because the Qur'an was revealed in a language variety with which they have been quite familiar. Yet, the companions of the prophet differ in their understanding of the Qur'an. Their understanding may vary according to their competencies and their closeness to the prophet. In addition, the Qur'an includes verses that appear to be contradictory. Some verses of the Qur'an, for instance, may imply that man is free to select either the path of faith or the path of blasphemy.
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Slingting, Allison. "German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3170.
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In this thesis I consider Karl Friedrich Schinkel's The Hall of Stars in the Palace of the Queen of the Night (1813), a set design of Die Zauberflöte (The Magic Flute), in relation to female audiences during a time of Germanic nationalism. Although Schinkel is customarily known as the great modern architect of Germany, his work as a set designer is exceedingly telling of his feelings toward the political and geographical unification of the Germanic regions. Through his set designs, Schinkel successfully used the influential space of the theatre to articulate not only nationalism, but positive female empowerment in his allegorical depiction of woman. However, the popularity of the theatre as an educational tool for women during the early nineteenth-century has remained largely overlooked. Additionally, the evil nature of the Queen of the Night in Emanuel Schikaneder's libretto has made the differentiation of Schinkel's positive figural interpretation essentially unnoticed. Though scholars have addressed Schinkel's aesthetic in terms of nationalism, the incorporation of allegorical women into his work and their responsibilities within this movement remains understudied. This thesis discusses the vision of nationalism as not necessarily an ideology of politics, but rather an ideology of religion and a unified culture. Through the German Romantic notion of the Eternal Feminine and the expanding study of maternal feminism, this thesis discusses the acknowledgement of the encouraging roles of women morally, spiritually, and nationalistically during a significant political time in Germany's history. Additionally, discussion of the theatre as a popular nationalistic institution for education allowed Schinkel's design for Die Zauberflöte to specifically engage and connect female viewers with nationalism. I attempt to show how all of these contextual ideologies were expressed through the allegorical female. Furthermore, in recognition of female viewers through allegory, Schinkel's The Hall of Stars expressed an empowerment of the feminine role within the drive for national unification.
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Gingrich, M. Linda. "The seen and the unseen : hidden allegorical links in the Trinity season chorale cantatas of J.S. Bach /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/11237.
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FERRANDO, ANDREA. "Fiore dei conversi. Testo inedito di fine sec. XIV. Edizione critica e commento." Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1088484.
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Il "Fiore dei Conversi" è un poemetto anonimo in sonetti ritornellati (372 poesie), databile alla fine del sec. XIV e tràdito da un solo manoscritto (B.A.V., Chig. M.IV.99). Vi viene narrato il racconto di un viaggio allegorico tra le stelle - e con meta il paradiso - che il protagonista, il cui nome resta sconosciuto, compie, mentre è ancora in vita, accompagnato da una guida saggia e fedele soventemente apostrofata con l'appellativo di "duca". La tesi consiste in una proposta di edizione critica e commentata del poemetto: la prima parte si sostanzia di alcuni capitoli introduttivi in cui il testo viene presentato sotto il profilo letterario, linguistico e codicologico (mediante un'accurata descrizione del testimone unico). Tra questi capitoli uno in particolare è dedicato all'influenza che la "Commedia" dantesca ha avuto nei confronti di questo testo. Viene inoltre prospettata una dettagliata analisi linguistica, sulla base della quale si avanza anche un'ipotesi di collocazione geografica dell'opera, che pare provenire dall'Italia mediana, e in particolare dall'Umbria; la seconda sezione della tesi presenta invece i testi in edizione critica: ciascun sonetto è preceduto da un'introduzione che ne riassume i contenuti ed è seguito da un commento che ne mette in luce gli aspetti più curiosi e innovativi nel panorama letterario e culturale di riferimento.
Per le sue particolarità, il poemetto può a tutti gli effetti essere considerato uno dei risultati più interessanti del fenomeno dell'epigonismo e della libera rielaborazione del capolavoro dantesco della "Commedia"."Fiore dei Conversi" is an anonymous poem in refrained sonnets (372 poems) dating back to the end of the 14th century and handed down by a single manuscript (B.A.V., Chig. M.IV.99). It tells an allegorical journey among the stars and to paradise, that the protagonist takes while he is still alive, accompanied by a wise and faithful guide, often called "duca". The thesis is intended as the critical edition of the poem: the first part deals with a general introduction of the text from a literary and linguistic point of view, and contains the codicological description of the manuscript. In this section a chapter is devoted to the influence of Dante's "Commedia" on the imagination and on the linguistic usus scribendi and register of the anonymous poet. Furthermore it is advanced the hypothesis of a geographical location of the poem on the basis of some relevant linguistic elements, whose presence suggests its provenance from central Italy, and particularly from Umbria. The second section of the work contains the critical edition of the sonnets: each poem is preceded by an introduction which summarizes its contents, and is followed by a comment that highlights the most curious literary aspects. The poem can be considered in all respects one of the most interesting and innovative example of the fortune and reworking of Dante's masterpiece, the "Commedia".
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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.
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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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Sherman, Hazel. "Reading Zechariah: an attempt to assess the allegorical tradition of biblical interpretation through the commentary of Didymus the blind." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492695.
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Pettersson, Jimmy. "Analys av meningsskapandet i Hannah Höchs fotomontage Schnitt mit dem küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3178.
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This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.
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OTTOBRINI, TIZIANO. "SOPRA IL "DE OPIFICIO MUNDI" DI GIOVANNI FILOPONO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/11131.
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I sette libri del "De opificio mundi" dell'alessandrino Giovanni Filopono (metà VI p.Ch.) sono il primo commento speculativo alla pericope cosmopoietica del Genesi mediante la fruizione di categorie filosofiche aristoteliche. Presentandone la prima traduzione italiana, si illustra il conato di novità che il Filopono esercita nell'esegesi biblica giacché interpreta Genesi non già attraverso il paradigma demiurgico del "Timeo" platonico, come in àmbito giudaico (Aristobùlo e Filone Ebreo) e nella produzione esameronale patristica (Cappàdoci), bensì attingendo alle opere fisiche e logiche dello Stagirita. Invece della struttura mitico-allegorica sottesa alla lettura cristiana del "Timeo" si impone l'approccio analitico di Aristotele: Filopono rifiuta l'interpretazione allegoretica, impiegando l'argomentazione sillogistico-deduttiva dell'"Organon" aristotelico, ricorrendo a filosofemi cardinali in Aristotele e nella tradizione scientifica che dal medesimo fiorì in Alessandria. Così Filopono in-venta un nuovo modello esegetico: superando l'allegorismo tradizionale (arbitrario e infedele al messaggio rivelato) e il letteralismo della scuola antiochena di Teodoro di Mopsuestia, Teodoreto, Cosma (banalizzante e senza metodo critico) Filopono conia un letteralismo metodologicamente forte, ove il metodo proviene formalmente dalla logica aristotelica e contenutisticamente dalla fisica aristotelica. Già commentatore dello Stagirita, Filopono fa incontrare Rivelazione e filosofia aristotelica, lasciando nel "De opificio mundi" un singolarissimo prodromo della scolastica cristiana.The present essay is meant to illustrate the philosophical and exegetic work intitled "De opificio mundi" (seven books) written by John Philoponus in Alexandria in the middle of the sixth century A.D. about the kosmopoiesis of the first chapter of Genesis. It is argued this treatise is the first evidence of Biblical exegesis led not according to Plato's "Timaeus" but according to Aristotelian corpus, specially "Physics" and "Organon". Philoponus rejects the allegorical method based upon demiurgic "Timaeus" since he thinks it is arbitrary and untrue compared with the Revelation literalism; therefore Philoponus passes the limit of Aristoboulos, of Philo's "De opificio mundi" and also the limit of Christian tradition of Hexaemerons (Fathers of the Church just like Cappadocians). Philoponus replaces allegorism with a new kind of Biblical literalism: not the trivializing one led by the school of Antioch (Theodore of Mopsuestia, Theodoret of Cyrrhus, Cosmas Indicopleustes) but a scientific and methodic literalism relied on Aristotelian logic and on the (meta)physical concepts derived from Aristotle (kinesis, dynamis, hexis, hypokeimenon, etc.); so "De opificio mundi" has a syllogistic and deductive structure, not a mythic-allegorical one. Last philosopher in Late Antiquity, Philoponus is in-ventor of a striking Christian-Aristotelian scholasticism.
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OTTOBRINI, TIZIANO. "SOPRA IL "DE OPIFICIO MUNDI" DI GIOVANNI FILOPONO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/11131.
Full textAbstract:
I sette libri del "De opificio mundi" dell'alessandrino Giovanni Filopono (metà VI p.Ch.) sono il primo commento speculativo alla pericope cosmopoietica del Genesi mediante la fruizione di categorie filosofiche aristoteliche. Presentandone la prima traduzione italiana, si illustra il conato di novità che il Filopono esercita nell'esegesi biblica giacché interpreta Genesi non già attraverso il paradigma demiurgico del "Timeo" platonico, come in àmbito giudaico (Aristobùlo e Filone Ebreo) e nella produzione esameronale patristica (Cappàdoci), bensì attingendo alle opere fisiche e logiche dello Stagirita. Invece della struttura mitico-allegorica sottesa alla lettura cristiana del "Timeo" si impone l'approccio analitico di Aristotele: Filopono rifiuta l'interpretazione allegoretica, impiegando l'argomentazione sillogistico-deduttiva dell'"Organon" aristotelico, ricorrendo a filosofemi cardinali in Aristotele e nella tradizione scientifica che dal medesimo fiorì in Alessandria. Così Filopono in-venta un nuovo modello esegetico: superando l'allegorismo tradizionale (arbitrario e infedele al messaggio rivelato) e il letteralismo della scuola antiochena di Teodoro di Mopsuestia, Teodoreto, Cosma (banalizzante e senza metodo critico) Filopono conia un letteralismo metodologicamente forte, ove il metodo proviene formalmente dalla logica aristotelica e contenutisticamente dalla fisica aristotelica. Già commentatore dello Stagirita, Filopono fa incontrare Rivelazione e filosofia aristotelica, lasciando nel "De opificio mundi" un singolarissimo prodromo della scolastica cristiana.The present essay is meant to illustrate the philosophical and exegetic work intitled "De opificio mundi" (seven books) written by John Philoponus in Alexandria in the middle of the sixth century A.D. about the kosmopoiesis of the first chapter of Genesis. It is argued this treatise is the first evidence of Biblical exegesis led not according to Plato's "Timaeus" but according to Aristotelian corpus, specially "Physics" and "Organon". Philoponus rejects the allegorical method based upon demiurgic "Timaeus" since he thinks it is arbitrary and untrue compared with the Revelation literalism; therefore Philoponus passes the limit of Aristoboulos, of Philo's "De opificio mundi" and also the limit of Christian tradition of Hexaemerons (Fathers of the Church just like Cappadocians). Philoponus replaces allegorism with a new kind of Biblical literalism: not the trivializing one led by the school of Antioch (Theodore of Mopsuestia, Theodoret of Cyrrhus, Cosmas Indicopleustes) but a scientific and methodic literalism relied on Aristotelian logic and on the (meta)physical concepts derived from Aristotle (kinesis, dynamis, hexis, hypokeimenon, etc.); so "De opificio mundi" has a syllogistic and deductive structure, not a mythic-allegorical one. Last philosopher in Late Antiquity, Philoponus is in-ventor of a striking Christian-Aristotelian scholasticism.
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Refini, Eugenio. "Teatro del mondo, teatro dell'anima. Sondaggi sul codice allegorico nel dramma morale del tardo Rinascimento." Doctoral thesis, Scuola Normale Superiore, 2010. http://hdl.handle.net/11384/86072.
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Marchiori, Alessia. "« Forgier fins besans ». Le Songe du Vieil Pelerin de Philippe de Mézières (1389) : projet sotériologique et pouvoir de l’écriture à la fin du XIVème siècle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040025/document.
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Dans cette thèse nous voudrions mener une étude approfondie sur le Songe du Vieil Pelerin (1389) de Philippe de Mézières concernant la structure complexe de ce voyage allégorique-didactique, ses facteurs de cohérence et cohésion qui font son principe d’unité, l’utilisation de certaines sources ainsi que sa réception auprès du public. Notre but est de mieux éclairer le procès de construction de ce texte, la posture de l’auteur et la place du Songe dans le contexte littéraire de la fin du XIVème siècle. Notre étude commence par une analyse détaillée du prologue. C’est là que Philippe de Mézières fournit les clés de lecture de son œuvre et qu’il met en place la réflexion sur le problème de la vérité: vérité spirituelle, morale ou encore verbale, et donc liée à un modèle rhétorique précis, enfin vérité de l’œuvre, de contenus qui y sont véhiculés et authenticité de l’écriture. Ce problème constitue un fil rouge qui traverse tout l’itinéraire accompli par le pèlerin, dans le récit, ainsi que les parenthèses didactiques ou digressives qui le parsèment, comme nous essayons de montrer dans la partie centrale de notre étude.Enfin, nous choisissons deux canaux langagiers bien définis et privilégiés dans le tissu discursif et narratif du Songe, la polémique et la pénitence, pour analyser plus en détail comment le modèle rhétorique proposé par l’auteur peut être le premier pas vers la voie d’un renouvellement social et spirituelThis research presents a thorough study on the Songe du Vieil Pelerin focused on four aspects: the complex structure of the allegorical-didactic journey described by Philippe de Mezieres; the internal coherence and cohesion that contribute to the unity of the text; the use of sources and the critical reception by Mezieres' contemporaries. From a general standpoint, the main goal of this research is to clarify the inner workings of Mezieres' creative endeavour, in order to better understand the place of the Songe in the literary context of the late fourteenth century. The research begins with a detailed analysis of the prologue, where Mezieres provides the keys to understand his work and organizes its reasoning on the problem of truth, distinguishing between a spiritual, moral, and verbal truth. This analysis marks the way of the pilgrim – the Songe main character – throughout Mezieres' work, both in the story and in the frequent didactical digressions. When the pilgrim's path ends, the rethorical model that underlies the entire work is explained with the help of the concepts of polémique and pénitence, to show how Mezieres conceives his work as a first step in the way of a social and spiritual renewal
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Eboli, Fang Regine Anne Marie. "Thinking Proust allegorically." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20522526.
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Souza, Adriana Vieira de. "Muito além do que se vê : a alegoria, em Ensaio sobre a cegueira, de José Saramago." Universidade Federal do Espírito Santo, 2011. http://repositorio.ufes.br/handle/10/6454.
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Previous issue date: 2011-08-04The objective of this research is the analysis of textual features worked by José Saramago, the allegorical structure of his novel Ensaio sobre a cegueira (1995). It presents a review of the theoretical concept of allegory, considering its origins, forms and subdivisions, and points out the similarities and the imbalance between allegory and other figures of speech. This sort of historical allegory: "allegory of poets" and "allegory of theologians." It highlights the opposition between symbol and allegory, promoted by the romantics and focuses on the concept of "allegorical reading." It points to the allegorical elements present in the narrative: the words that illustrate his own title, the intertextuality with the sayings, the characters, the narrator and narrative spaces. Based on studies of Walter Benjamin, Kothe Flávio, João Adolfo Hansen, Mikhail Bakhtin and Marc Augé, seeks to highlight the novel by Saramago as a place for questioning the man in the world
O objetivo desta pesquisa é a análise das características textuais trabalhadas por José Saramago, na estrutura alegórica de seu romance Ensaio sobre a cegueira (1995). Para isso, realiza uma revisão teórica do conceito de alegoria, considerando sua origem, formas e subdivisões, e aponta as semelhanças e as desproporções entre alegoria e outras figuras de linguagem. Trata da classificação histórica da alegoria: alegoria dos poetas e alegoria dos teólogos . Destaca a oposição entre símbolo e alegoria, promovida pelos românticos e enfoca o conceito de leitura alegórica . Pontua os elementos alegóricos presentes na narrativa: nos vocábulos que ilustram o seu próprio título, na intertextualidade com os ditos populares, nas personagens, no narrador e nos espaços narrativos. Fundamentada nos estudos de Walter Benjamin, Flávio Kothe, João Adolfo Hansen, Mikhail Bakhtin e Marc Augé, busca ressaltar o romance de Saramago como espaço de questionamento do homem no mundo
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Minuto, Maria Elena. "Marcel Broodthaers. Lo sguardo e la pratica allegorica nella contemporaneità." Doctoral thesis, Università degli studi di Bergamo, 2016. http://hdl.handle.net/10446/63750.
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Mussou, Amandine. "Mettre le savoir en fiction à la fin du XIVe siècle. Les Eschés amoureux en vers." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040076.
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Les Eschés amoureux, poème allégorique de trente mille vers datant de 1370-1380, se présentent comme une réponse au Roman de la Rose, en rejouant notamment l’intrigue sur un échiquier. Conservé dans deux manuscrits inachevés, encore largement inédit, ce texte a rapidement été éclipsé par son commentaire en prose, Le Livre des eschez amoureux moralisés, rédigé par Évrart de Conty, médecin personnel de Charles V. La récente attribution des Eschés amoureux à ce même auteur hisse le poème initial au rang d’œuvre destinée à être (auto-)commentée ; cette auto-exégèse est déjà esquissée dans l’un des témoins du texte en vers, qui comprend un apparat de gloses marginales latines participant d’un projet auctorial. Les Eschés amoureux articulent ambition narrative et transmission de connaissances variées, en intégrant notamment en leur sein deux traductions d’auctoritates, les Remedia amoris d’Ovide et le De regimine principum de Gilles de Rome. Ils offrent une mise en fiction du savoir singulière, réservant souvent ce qui fonde l’autorité du discours à un commentaire à venir. Cette présente étude s’attache à examiner les stratégies de divulgation du savoir par le biais d’un récit à la fin du XIVe siècle, en analysant notamment les modèles investis par Les Eschés amoureux, l’assemblage d’éléments hétéroclites qui préside à l’élaboration de cette fiction et la fonction dévolue au commentaireThe Eschés amoureux, a thirty thousand verse allegorical poem written circa 1370-1380, comes as a response to the Romance of the Rose, notably playing the initial plot on a chessboard. The text can be read in two incomplete manuscripts and is still mostly unedited. It was quickly outshone by its prose commentary, Le Livre des eschez amoureux moralisés, written by Évrart de Conty, King Charles V’s personal physician. The fact that the Eschés amoureux was recently attributed to this very same author pushes the initial poem to the rank of a work that requires (self-)commentaries; the outline of this self exegesis is to be found in one of the verse manuscripts, which comes with latin marginal glosses of major and auctorial importance. The Eschés amoureux connects a narrative project to the transmission of knowledge, inserting within the poem two translations of auctoritates, the ovidian Remedia amoris and the De regimine principum by Giles of Rome. It provides a peculiar fictionalization of knowledge, often setting aside the authoritative part of the discourse and keeping it for a forthcoming commentary. The present dissertation intends to analyze the ways knowledge was conveyed through narrative at the end of the XIVth century; it considers the models involved for this specific text, the miscellaneous items brought together in one single fiction and the part played by the commentary
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Karlowicz, Tobias Amadeus. "Reclaiming Pusey for theology : allegory, communion, and sacrifice." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4122.
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Edward Bouverie Pusey once towered over nineteenth-century British theology, but he has now fallen into almost entire insignificance. However, analysis of this decline (Chapter 1) leads to a reassessment. His development—especially his complicated relationship with pre-Tractarian High Church Anglicanism—shows a deep criticism of post-Enlightenment intellectual trends, from his early years through his association with the Oxford Movement and the Tracts for the Times, to the end of his life (Chapter 2). This criticism led him to the patristic use of allegory, both as a biblical hermeneutic and as a creative, complex, image-based approach to theology (Chapter 3). His development of High Church theology (seen especially through comparison with Waterland) and his use of allegory can be traced throughout his theology. His understanding of union with Christ and theosis reveals both: the sacraments have a strong symbolic dimension, while his positions on baptismal regeneration and the real presence of Christ in the Eucharist show a development rather than a rejection of earlier High Church theology (Chapters 4 and 5). His understanding of the atonement blends High Church reliance on sacrificial types with his unitive theology to reconfigure traditional satisfaction theory as restoration of love for God, rather than redemption from punishment—a position which marks Pusey as an important transitional figure in 19th c. theology (Chapter 6). The flexibility of Pusey's allegorical approach also allows him to blend a High Church tradition of spiritual sacrifice with sacramental participation in Christ's self-offering, so that sacrifice becomes an aspect of union with Christ (Chapter 7). Pusey's use of allegory shows similarities to postmodern theology, while his development of High Church theology shows his originality (Chapter 8).
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Kim, Ju-Young. "L'objet ancien dans sa forme et son essence : entre passé et modernité, familiarité et étrangeté." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H322.
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Un objet ancien dont on ne se sert plus aujourd’hui continue cependant de vivre dans notre vie contemporaine. Il se présente à nous avec un autre fonctionnement et souvent avec une autre définition : ce n’est plus l’objet utile ni l’outil pratique qu’il a été. Dans cette thèse, la valeur de l’objet ancien est étudiée dans sa dimension immatérielle et spirituelle. Ainsi nous renouvellerons sa définition en réfléchissant sur son essence et sa forme d’un point du vue contemporain. La première partie de cette thèse présente les concepts de la valeur de l’objet ancien de nos jours sous un angle sociologique. Ensuite, nous proposons une approche du concept de l’objet ancien comme une chose mi-humaine mi-objet. Puisqu’un objet ancien d’une autre époque possède toujours en lui cette vie de l’époque révolue, est-ce que cet objet peut vivre comme s’il était une chose animée ? Dans la seconde partie, nous avons recherché quelles caractéristiques pouvaient donner à l’objet ancien cette sensation de vie humaine ? Peut-être tout d’abord les traces des gens qui se sont accumulées sur lui visiblement et invisiblement ? La notion coréenne de « sonté » nous a permis de traduire et d’exprimer ces traces visibles et invisibles sur l’objet ancien. Dans la dernière partie, l’objet ancien est étudié dans le domaine de l’art contemporain. Les artistes contemporains voient l’objet ancien comme un nouvel objet et lui donne une autre forme et une autre essence qui, bien souvent, est une allégorie de la destinée humaineAn ancient object that is no longer in use today continues however to survive in our contemporary life. It is presented to us with another function and often with another definition: it is no longer the useful object nor the practical tool that it used to be. In this dissertation, the value of the ancient object is studied in its immaterial and spiritual dimensions. We will thus renew its definition by reflecting on its essence and form from a contemporary viewpoint. The first part of the dissertation presents the concepts around the value of the ancient object in our time from a sociological angle. Next, we propose an approach to the concept of the ancient object as half-human and half-object. Since an ancient object from another era always keeps within itself its life in the period gone by, could this object exist as if it were an animated entity? In the second part, we have sought what characteristics could offer the ancient object this sensation of human life. Perhaps, first of all, the traces of people that it has accumulated visibly and invisibly? The Korean notion of “sonté” allows us to translate and express these visible and invisible traces on the ancient object. In the last part, the ancient object is studied in the field of contemporary art. Contemporary artists see the ancient object as a new object and give it another form and another essence which often is an allegory of human destiny
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Hagey, Jason A. "Truth Begins In Lies': The Paradoxes Of Western Society In House M.D." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3264.
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The core of House M.D. is its assertion that current Western civilization lives in a perpetual state of dissonance: we desire to have the rawness of emotion but we can only handle this rawness when we combine it with intellect, even if that intellect lies to us. This is the ontological paradox that the televisual text grapples with. Through the use of archetypal analysis and allegorical interpretation, this thesis reveals that dissonance and its relationship to contemporary Western society. Through House M.D. we realize that there are structures to the paradoxes that we live and there are paradoxes in our structures. Dr. House is a trickster in an allegory of American capitalist culture. The trickster metaphorically pulls away from society the rules protecting cultural values. Dr. House and House M.D. participate in revealing the cultural disruption of the current moment of Western society. While playing on the genres of detective fiction and hospital dramas, House M.D. is an existential allegory exposing the paradox that we can never be free while still seeking our own self-interest.
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ZOERLE, STEFANO. "Salomon De Caus: tra retorica, prospettiva e allegoria." Doctoral thesis, Università IUAV di Venezia, 2017. http://hdl.handle.net/11578/278709.
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Mocci, Michael <1991>. "Allegoria e figura nel commento all'Eneide di Servio." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7538.
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Saket, Walid. "Le concept de "personnage poétique" dans Les Fleurs du Mal et Le Spleen de Paris de Charles Baudelaire : Fonctions et significations." Thesis, Clermont-Ferrand 2, 2014. http://www.theses.fr/2014CLF20015/document.
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Tenter de cerner le concept de ‘’personnage poétique’’ dans Les Fleurs du Mal et Le Spleen de Paris et essayer d’en déduire les fonctions et les significations, tels sont les objectifs du présent travail. Un processus de conceptualisation fait l’objet de notre première partie qui s’appuie sur les critiques existantes à ce sujet pour donner les statuts adéquats aux êtres peuplant ces deux œuvres. On s’est proposé de voir à travers des exemples précis le traitement que réserve l’œuvre baudelairienne à ce concept, notamment quand il s’agit de passer du poème en vers au poème en prose. Ainsi, des notions limitrophes ont émergé au fil de notre analyse, comme la notion de “figure allégorique” ou “mythique”. Parler de ‘’personnage poétique’’ est donc fort délicat surtout à l’aune de la variation générique qui impose des nuances contraignantes. Mais le fait est là : nous pensons légitime d’attribuer le statut de personnage à certains des sujets qui traversent Les Fleurs du Mal ou Le Spleen de Paris. En effet, ils sont définissables suivant les critères réservés généralement au personnage à savoir, le faire, le dire, la dimension psychologique. Néanmoins, ce statut n’est pas aussi évident quand on constate que dans ces deux œuvres le même sujet peut parfois conjointement relever du traitement de personnage et de figure. Ce travail étant réalisé, notre tâche était d’étudier les fonctions de ces ‘’personnages’’ et de ces ‘’figures’’ dans le cadre de l’esthétique générale de Baudelaire. Dès lors, on a pu voir un processus de dédoublement et de dialogisme se déclencher entre le poète et ses alter ego, qui incarnent ses revendications et ses convictions esthétiques avant-gardistesThe objectives of the present work are attempting to define the concept of'' poetic character” in'' Les Fleurs du Mal” and” Le Spleen de Paris” as well as trying to deduce the functions and meanings implied in that concept. A process of conceptualization will be our first part .This part will rely on existing critics on this subject to finally give the appropriate statutes to creatures inhabiting these two works. We suggested to study through specific examples the way the works of Baudelaire treat this concept particularly when it comes to moving from free verse poem to prose poem. Thus, adjacent concepts have emerged in the course of our analysis such as the notion of mythical or allegorical figure. Talking about '' poetic character “is so delicate especially in this generic difference that imposes binding shades of meaning. But the fact is that we were able to grant the status of characters to many creatures whether in ‘Les Fleurs du Mal ‘or in ‘Spleen de Paris’. In fact, they can be defined according to the criteria usually reserved to character i.e., do, say, the psychological dimension… However, this status is not that evident when we notice that in these two works the same creature could sometimes jointly be treated as character and figure. Once this work was done, our task was to study the functions of these'' characters'' and '' figures'' in the context of the overall aesthetics of Baudelaire. Consequently, we could see a process of duplication and dialogism between the poet and his creatures. Tackled as his doubles; these creatures embody the poet’s claims and his avant-gardist aesthetic convictions
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Gallo, Mariangela <1985>. "Donne ritratte a Venezia nel Quattrocento e primo Cinquecento. Da assenti giustificate a spose allegoriche." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3613.
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Lo studio del ritratto è un modo efficace per delineare sia il percorso artistico di un luogo che i mutamenti sociali, politici e storici che avvengono in tale luogo. Data la natura prettamente sociologica del ritratto, questo non costituisce solo un mezzo di analisi stilistica, bensì un completo ed efficace specchio dell’intera società da cui viene proposto.
Il ritratto femminile è un ulteriore indicatore sociale e culturale dato che il ruolo che si attribuisce alla donna e la sua conseguente rappresentazione riflettono il carattere dell’ambiente circostante.
Il ritratto e il suo significato cambiano quindi in relazione alla struttura di un luogo e riflettono ogni cambiamento e passaggio che attraversa la società in questione.
La stessa fortuna che il ritratto riscuote a Venezia durante il Quattrocento è indicatrice di alcuni tratti sociali salienti dei veneziani. Il governo è strettamente legato al patriziato e la conseguenza di questo monopolio politico connesso alla genealogia è l’ossessione per il lignaggio. Tutto ciò, oltre ad essere registrato nel documenti e celebrato nelle notizie storiche, viene descritto nei ritratti.
La ritrattistica è indissolubilmente connessa alla politica. La fioritura del genere corrisponde infatti al periodo post-serrata, in cui il meccanismo politico si consolida e con esso la necessità di esibire le proprie origini.
La mancanza di figure femminili è un' ulteriore riprova della funzione politica del ritratto. Le donne, in quanto madri, erano ovviamente indispensabili per il perpetuarsi della famiglia, ma il loro ruolo rimane limitato alla sfera privata, un ambito escluso dalle celebrazioni.
Il ritratto commemora la grandezza di un casato, non del singolo individuo. Le inclinazioni individuali vengono arginate a favore delle necessità collettive. Così una presenza femminile, madre reale o potenziale, avrebbe potuto alludere a qualche ambizione dinastica incompatibile con l’idea di Repubblica.
Oltre alle ragioni che giustificano l’assenza femminile nei ritratti, vorrei focalizzarmi sui mutamenti in atto a Venezia tra Quattro e Cinquecento, risultato di una combinazione di eventi che si scontrano e si amalgamano con i caratteri della società veneziana e di come sia possibile leggere questo cambiamento attraverso il graduale inserimento delle figure femminili, sia come bellezze ideali che come protagoniste riconoscibili di ritratti.
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BORNIOTTO, VALENTINA. "Iconografie identitarie a Genova in età moderna. Aspetti di glorificazione civica nelle immagini allegoriche e devozionali." Doctoral thesis, Università degli studi di Genova, 2016. http://hdl.handle.net/11567/981057.
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Tra il Cinquecento e il Settecento, la Repubblica di Genova si avvale di canali differenti per la trasmissione di iconografie celebrative dell’identità cittadina, cercando nella forza delle immagini artistiche un valido strumento per la propria auto-legittimazione. Parallelamente alla tardiva codificazione della personificazione allegorica della città – diffusa a partire dai primi anni del Seicento – le imprese di eroi patri come Guglielmo Embriaco e Cristoforo Colombo ornano le pareti di molti edifici privati e pubblici, configurandosi come emblemi perfetti delle virtù repubblicane e specchio dello spirito oligarchico genovese, che nell’individualismo trovava il suo conclamato punto di forza. Anche nell’iconografia religiosa, in particolare nelle raffigurazioni dei quattro santi patroni genovesi, si sovrappongono chiari significati civici, fortemente rimarcati dai trattatisti del tempo e talora indissolubilmente connessi alle vicende politiche della Repubblica stessa. Pur nella loro evidente differenza, gli illustri genovesi del passato, gli esponenti della religiosità locale e la più astratta rappresentazione simbolica della città si fanno quindi, a Genova, comuni portatori di espliciti valori identitari per gli abitanti, veicolando, con immagini eterogenee, un condiviso sentimento di orgoglio civico. Basandosi sul vaglio di numerose fonti letterarie e archivistiche, il presente studio propone un’indagine sui diversi versanti di questa articolata tematica, analizzando le molteplici tipologie iconografiche in rapporto alle specifiche richieste dei singoli committenti e al contesto socioculturale che le genera.
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Fumagalli, Chiara. "Mito e allegoria nel racconto di fine millenio - Antonio Tabucchi, Pierre Michon e László Krasznahorkai." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030025.
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À la fin des années 70, lorsqu’on commence à s’interroger autour des changements historico-politiques qui intéressent les deux “moitiés” de l’Europe, la crise du bloc communiste et la fin des idéologies, la référence à la Modernité est inévitable : on discute la crise de la modernité, d’une modernité inaccomplie ou accomplie. Comment est-ce que le paradigme littéraire change en cette “période de mutation”? Comment s’exprime dans la littérature contemporaine la recherche du sens? On assiste, dans le panorama littéraire, au retour du sujet et du besoin anthropologique de la narration, à la fonction du narrateur comme témoin et médiateur d’histoires d’autrui. À travers la narration de récits de vie, des destins “fragmentés”, des biographies réinventées, on peut remarquer l’intention de ressusciter des “marginalia”, des traces oubliées par l’Histoire : on essaie de donner un sens à une vie ou de saisir une vie par le sens, de représenter la quête d’un centre métaphysique par le personnage qui revit le conflit et la dissociation entre “âme et forme”. Ce sont des récits de filiations, ils narrent des relations père-fils, de l’histoire de la faute et de l’origine du pouvoir, mais aussi des vies marginales, des traces de l’histoire et du rôle du narrateur en tant que témoin. Les auteurs ont recours au mythe : on s’interrogera alors sur le sens nouveau de la représentation du mythe dans ces récits en tant qu’interprétation allégorique du contemporain et d’une relation nouvelle au temps ; on questionnera son utilisation en tant qu’allégorie vide et énigmatiqueIn the late 70s, when one begins to wonder about the historical and political changes regarding the two “halves” of Europe, the crisis of the communist bloc and the end of ideology, the reference to Modernity is inevitable: the crisis of modernity is discussed – a modernity accomplished or unaccomplished. How does the literary paradigm change in this “time of mutation”? How is it expressed the search for meaning in the contemporary literature? We are the witnesses, in the literary scene, of the subject’s return and of the anthropological need of narration (the function of the narrator as a mediator of others’ stories). Through the narration of life stories, “fragmented” destinies, reinvented biographies, we can see the intention of resurrecting the “marginalia”, the traces forgotten by history: we try to give meaning to a life or to grasp a life by meaning, we try to represent the quest for a metaphysical centre through the character reliving the conflict and the dissociation between “soul and forms”. The authors use the myth: we will ask the new meaning of the representation of myth in these stories as an allegorical interpretation of contemporary and a new relationship to time; we will question its use as empty and enigmatic allegory
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Ferrari, Sarah. "Le ragioni culturali del "dipingeremoderno". Paesaggio, ritratto e allegoria a Venezia negli anni di Giorgione." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423769.
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This research project aims to gain an in-depth analysis of Venetian Humanism giving evidence to facts, institutions and individual characters playing a significant role in relation to the development of new iconographies in Venetian painting. Particular attention has been given to Neoplatonic philosophy (the debate on the immortality of the soul); the new philology introduced by Ermolao Barbaro; the fortune of pastoral poetry (Theocritus and Sannazaro); the vernacular language (Bembo’s Asolani). Specific investigation into the art of Bellini, Giorgione and the young Titian has been undertaken, with particular attention to the representation of landscape, portrait and allegoryIl lavoro consiste in un’analisi approfondita del rinnovamento culturale e artistico che interessa Venezia tra la fine del Quattrocento e l’inizio del Cinquecento. Particolare attenzione è stata data ad alcune istanze culturali che si ritiene possano aver svolto un ruolo significativo in relazione alle novità dell’arte di Giorgione: la penetrazione della filosofia neoplatonica dentro e fuori le aule universitarie, l’importanza del dibattito intorno alla questione dell’immortalità dell’anima (la rinascita di Avicenna quale interprete della filosofia aristotelica), l’avvento di una nuova filologia promossa da Ermolao Barbaro, la fortuna della letteratura pastorale (Teocrito e l’Arcadia di Sannazaro) e il successo della lingua volgare (gli Asolani di Bembo). La tesi non intende, pertanto, perseguire uno studio monografico su Giorgione, ma proporre una lettura delle sue opere fondata su un dialogo serrato con il vivace clima intellettuale dell’epoca
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Mesquita, Fabio Luiz de Almeida. "Schopenhauer e o Oriente." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-07022008-110708/.
Full textAbstract:
Essa dissertação analisa a influência oriental recebida por Schopenhauer durante a formação de sua filosofia e a conseqüência gerada em seus textos tardios no conceito de religião. Enfoca-se, principalmente, a obra em latim Oupnek\'hat, que possui 50 das 108 Upaniñad, traduzida por Anquetil-Duperron e publicada em 1801/1802. Tal obra foi estudada por Schopenhauer a partir de 1814. Nela estão presentes conceitos orientais como Maya, \"Illos tu és\" (Isto és tu - Tat tvam asi) e trimurti, que foram utilizados, respectivamente, por Schopenhauer em suas teorias da representação (Vorstellung), compaixão (Mitleid) e Vontade de vida (Wille zum Leben). Tenta-se, assim, trazer autenticidade para as inúmeras afirmações de Schopenhauer as quais colocam as Upaniñad, juntamente com as filosofias de Platão e Kant, como as principais influências para o surgimento de seu pensamento. Tais ensinamentos orientais, recebidos em tenra idade, contribuíram na interpretação das religiões como metafísicas alegóricas. Porém, as mais transparentes deveriam ser enaltecidas (hinduísmo e budismo) e as mais obscuras deveriam ser rejeitadas (judaísmo e islamismo). Enfim, a presente dissertação almeja destacar o pensamento oriental na obra de Schopenhauer, pois o mesmo já foi alvo de injúria e esquecimento por parte de muitos estudos.This dissertation analyzes the eastern influence received by Schopenhauer during the formation from his philosophy and the consequence generated in his delayed texts in the religion concept. It is focused, mainly the Oupnek\'hat (Upaniñad) work, translated by Anquetil-Duperron in 1801/1802 and studied by Schopenhauer since 1814. In it are contained eastern concepts as Maya, \"Illos tu és\" (Tat tvam asi) and Trimurti, that had been used, respectively, for Schopenhauer in his theories of the representation (Vorstellung), compassion (Mitleid) and Will of life (Wille zum Leben). It is tried, thus, to bring authenticity for the innumerable affirmations of Schopenhauer that place the Upaniñad, altogether the philosophies of Plato and Kant, as the main influences for the arise of its thought. Such eastern teachings received in little age had contributed Schopenhauer to interpret the religions as Metaphysical allegoric. But, the most transparent would have to be valued (Hinduism and Buddhism) on the other hand, the obscurest than would have to be rejected (Judaism and Islam). At last, the present dissertation aim to detach the eastern thought in the work of Schopenhauer, therefore the same already was white of injury and forgetfulness on the part of many studies.