Dissertations / Theses on the topic 'Humanists – Italy – 16th century'
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Maglaque, Erin. "Venetian humanism in the Mediterranean world : writing empire from the margins." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4d671b0d-6917-4a1f-bcfb-2045128a11e0.
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My dissertation examines the cultural history of the Renaissance Venetian maritime empire. In this project I bring into conversation two historiographical subfields, the intellectual history of Venetian Renaissance humanism and the colonial history of the early modern Mediterranean, which have previously developed separately. In doing so, I examine the relationship between power and knowledge as it unfolded in the early modern Mediterranean. The ways in which Venetian Renaissance intellectual culture was shaped by its imperial engagements - and, conversely, how Venetian approaches to governance were inflected by humanist practices - are the central axes of my dissertation. In the first part of the dissertation, I examine the ways in which writing and textual collecting were used by elite Venetian readers to represent the geopolitical dimensions of their empire. I consider a group of manuscripts and printed books which contain technical, navigational, and cartographic writing and images about Venetian mercantile and imperial activity in the Mediterranean. In the second part, I undertake two case-studies of Venetian patrician governors who were trained in the humanist schools of Venice, before being posted to colonial offices in Dalmatia and the Aegean, respectively. I examine how their education in Venice as humanists influenced their experience and practice of governance in the stato da mar. Their personal texts offer an alternative intellectual history of empire, one which demonstrates the formation of political thought amongst the men actually practicing and experiencing imperial governance. Overall, I aim to build a picture of the ways in which literary culture, the physical world of the stato da mar, and political thought came to be entwined in the Venetian Renaissance; and then to describe how these dense relationships worked for the Venetian administrators who experienced them in the Mediterranean.
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True, Thomas-Leo Richard. "Power and place : the Marchigian Cardinals of Sixtus V." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648270.
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Davies, Martin Charles. "Friends and enemies of Poggio : studies in Quattrocento humanist literature." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:d9b0db71-a5ec-426f-8ddf-ba7d05a15ab7.
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The last chapter does not directly concern Poggio, but publishes letters between two of his most bitter enemies, Niccolo Perotti and Lorenzo Valla. They date from the period of the protracted polemics exchanged between them and him (1451-54). An effort is made to characterise the scribe of these letters, and to place him in the context of humanist education. New information on Valla and Perotti is also integrated into their biographies.
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Pesuit, Margaret. "Representations of the courtesan in sixteenth-century Venice : sex, class, and power." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37227.pdf.
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Norris, R. Mae. "Beyond the battlefield : Venice's Condottieri families and artistic patronage : the Colleoni of Bergamo, Martinengo di Padernello of Brescia and the Savorgnan del Monte of Udine (1450-1600)." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708397.
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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.
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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Luscombe, Desley School of History UNSW. "Inscribing the architect :the depiction of the attributes of the architect in frontispieces to sixteenth century Italian architectural treatises." Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/31896.
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This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.
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Stone, Villani Nicolas. "The dissolution of constitutions : Aristotle in Italian political thought from Niccolò Machiavelli to Giovanni Botero." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:600663d5-b566-46c0-8a7a-418fca1d635b.
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This thesis studies the reception of Aristotle's political thought in sixteenth-century Italy. It focuses on Aristotle's discussion of the dissolution of constitutions in Book 5 of the Politics and aims to show how Aristotle's political thought remained central to late Renaissance political discourse. No comprehensive study of the topic exists. Modern historiography on Renaissance political thought generally downplays the importance of Aristotle in the history of sixteenth-century Italian political thought and emphasises the Roman tradition over the Greek. This research aims to fill the gap in modern scholarship and revise modern interpretation of Renaissance political theory. This thesis is essentially divided into three parts, each part containing two chapters. Part I is largely introductory. Chapter 1 offers a historiographical review of modern scholarship on the reception of Aristotle in the Renaissance and early-modern political thought. Chapter 2 explores the revival of Greek studies in the fifteenth century and the changing perception of Aristotle's Politics in the Renaissance. Part II focuses on Aristotle and Machiavelli. Chapter 3 examines the similarities between Aristotle's analysis of the means of preserving tyranny and Machiavelli's discussion of how to mantenere lo stato in The Prince. Chapter 4 explores the effects that these similarities between Aristotle and Machiavelli had on the reception of Aristotle in Renaissance political thought. Part III centres on Aristotle in the republican and vernacular traditions. Chapter 5 explains the importance of Aristotle's discussion of the dissolution of constitutions to Renaissance republican political thought. Chapter 6 underlines the continuous relevance of Aristotle's Politics in the second half of the sixteenth century. The conclusion sums up the central argument of each chapter and invites us to explore the influence of Aristotle on reason of state literature.
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SANCHEZ, CAMACHO Alberto. "'Up and down' : Genoese financiers and their relational capital in the early reign of Philip II." Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/69995.
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Defence date: 26 January 2021Examining board: Professor Regina Grafe (European University Institute); Professor Luca Molà (University of Warwick); Professor Carmen Sanz Ayán (Universidad Complutense de Madrid); Professor Manuel Herrero Sánchez (Universidad Pablo de Olavide)
This doctoral thesis analyses the process of state construction in the early modern period from a joint perspective that amalgamates the agencies of state officials, lending communities, and local elites in the Hispanic Monarchy during the four initial years of Philip II’s reign. The project examines the convergence of private agendas inside and outside the royal administration, which were channelled by the Genoese lending community to overcome the consolidation of royal short-term debt in 1557 and its consequences. The application of an institutional approach, based on the works of Avner Greif, to the analysis of the social organisations that prevented a failure of coordination in the Hispanic Monarchy offers a fresh perspective on a topic normally assessed under predatory models. The specific study of two Genoese lenders who contributed to the establishment of a more viable and efficient financial system in the monarchy, Costantin Gentil and Nicolao de Grimaldo, provides details about how interregional transactions and local economies contributed to the consolidation of the early modern state.
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O'Regan, Thomas Noel. "Sacred polychoral music in Rome, 1575-1621." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:daa9a67e-cf31-4a1b-8d74-4b814acb6957.
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The object of this thesis is to lay open a repertory of music which has long been ignored, the music for two and more choirs composed by Roman composers of the generation of Palestrina and his immediate successors. Polychoral music is taken to mean music in which two or more independent and consistent groups of voices take part, singing separately and together; the parts should remain independent in tuttl sections, with the possible exception of the bass parts. By this definition, the first real polychoral music to be published in Rome was that by Giovanni P. da Palestrina in his Motettorum liber secundus of 1575. This is taken as the starting point for this study. Music which might have influenced Roman composers is examined, as well as eight-voice music by Roman composers which is not polychoral according to the above criteria. The development of polychoral music in the city is then traced through the reigns of the various popes from Gregory XIII to Paul V, whose death in 1621 is taken as a convenient place to end the study. Particular emphasis is laid on structural and textural aspects and the way these were adapted by successive composers. The ground for the Roman concerts to style was laid in the early experiments by composers such as Giovanni Animuccia, Palestrina and Tomas Luis de Victoria; this is traced through what is termed the 'fragmented' style of the last two decades of the sixteenth century to the full flowering of the large-scale concerts to motet after 1605. The music is studied in the context of the institutions for which it was written. The archives of these Institutions have been researched for information on performance practice, which is presented here. The broader cultural, social and religious background which spawned the idiom is also examined and polychoral music related both to the new propagandist attitude of church leaders from Gregory XIII onwards, and to a general expansion in musical activity in the city of Rome through the period under investigation. The various printed and manuscript sources for this music have been researched and the resulting catalogue of pieces by fifty or so composers who worked in the city is presented. A more detailed examination is carried out of the primary manuscript sources, from which valuable information on various aspects of the music can be obtained.
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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.
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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.
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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
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Kranias, Alison. "Verovio's keyboard intabulations and domestic music making in the late Renaissance." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98544.
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At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (often women), when or when not to transpose pieces with chiavette (or high clefs), and how instrumental embellishments relate to the canzonetta's text as well as musical texture. This examination contributes to a better understanding of Italian sixteenth-century performance practice, especially of the ways in which instruments were used along with voices in domestic music making.
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Getz, Christine Suzanne 1957. "Music and Patronage in Milan 1535-1550 and Vincenzo Ruffo's First Motet Book." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332652/.
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The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.
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Giunta, Stephen. "Between memory and desire : the renaissance vision of Cristoforo Sorte." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27474.
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This thesis is concerned with cartographic practices and the representation of the world during the Renaissance. In contrast with the modern instrumentalized world view, it will present surveying techniques and representational means that were defined by and reflected a divine transcendental order. The work of Cristoforo Sorte, as exemplified in his chorographia, will be investigated in order to display the mysterious qualities and geometric depth shared with Renaissance art and architecture. An examination of Sorte's methods of creating his work, relying on memory and the active recollection of the viewer, will reveal the primacy of shared human experience in the making of meaningful art and artifacts during the Renaissance. Perhaps an understanding of this world view will help mediate the dominating gaze which enframes the modern world and recover embodied perception as the site of architecture.
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Murphree, David W. "Giordano Bruno and the history of science." Thesis, Virginia Tech, 1991. http://hdl.handle.net/10919/41699.
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Historians of science express widely divergent interpretations of the significance of the Italian philosopher Giordano Bruno (1548-1600) to the history of science. An examination of the history of science reveals two basic schools of thought about Bruno. Specifically, historians of science disagree on the reason for Bruno’s execution at the hands of the Roman Inquisition in 1600. One school of thought, the “martyr to science” interpretation, insists that Bruno died as the direct result of his advocacy of Copernicanism. The opposing school rejects this assessment and names a variety of unorthodox religious beliefs as the motivation for Bruno’s execution.
These two positions, the “martyr to science” and the “anti-martyr to science” schools of thought, form the basis of two parallel interpretive schemes about early modern science that have coexisted in the history of science for nearly 150 years. In particular, the “martyr to science” school tends to view religion as innately hostile to science. Moreover, this school also emphasizes the discontinuities between medieval and modern science. In contrast, the “anti-martyr to science” school often rejects the existence of an inherent conflict between science and religion. The “anti-martyr to science” school also tends to highlight the continuities between medieval and modern science.Master of Arts
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Lamal, Nina. "Le orecchie si piene di Fiandra : Italian news and histories on the Revolt in the Netherlands (1566-1648)." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6902.
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This thesis examines the Italian news reports, political debates and histories of the revolt in the Netherlands between 1566 and 1648. Many Italians were directly involved in this conflict and were keen narrators of these wars. Despite this, a systematic study of the Italian interest for the conflict has not yet been undertaken. This thesis argues that the complex political constellation of the Italian peninsula, dominated by the Habsburg monarchy, shaped the Italian news, debates and interpretations of the Dutch Revolt. Chapter one examines the different ways in which news from the Low Countries reached Italian states. It demonstrates that Italian military officers, active on the battlefield in the Netherlands in the Habsburg army, played a crucial role as purveyors of news and opinion on the conflict. The two following chapters study the circulation of political treatises on the Italian peninsula. Chapter two reconstructs the debates sparked by the events in the Low Countries between 1576 and 1577. Chapter three examines the descriptions of the emergence of a new state in the Northern Netherlands and the discourses on war and peace between 1590 and 1609. Chapter four looks into the development of a market for printed news pamphlets and explores the connections between manuscript and printed news. Chapter five studies how news was used by Italian history writers in their contemporary chronicles. It also investigates how these authors celebrated Italian protagonists in the war as Italian and Catholic heroes. The conclusion examines the evolution of all these Italian discourses related to Dutch Revolt.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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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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Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.
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This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.
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Tsoumis, Karine. "Giovanni Battista Cavalieri's Ecclesiae militantis triumphi : Jesuits, martyrs, print, and the counter-reformation." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83842.
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Five hundred years of Christian martyrdom are represented in the Ecclesiae militantis triumphi (1583). Engraved by Giovanni Battista Cavalieri, the series that was bound into a book reproduces a fresco cycle in the church of San Stefano Rotondo in Rome. While the church belonged to the Jesuit German-Hungarian College, the book accompanied priests in their proselytizing mission in Northern Europe. This thesis will look at the function of the book in relation to various audiences, in different viewing contexts. Analyzed primarily in relation to the intended Jesuit audience as an object of devotion, the book will also be inserted within the Early Christian revival promoted by Gregory XIII (1572-1585). Finally, it will be looked at in relation to an audience composed of individuals interested in factual knowledge about Early Christian history and in the martyr as a historical figure. A general endeavor of the thesis is to situate the Ecclesiae militantis triumphi in relation to late sixteen-century representations of martyrdom, both Catholic and Protestant, as well as in relation to other contemporary Roman printed works.
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Lezowski, Marie. "L’atelier Borromée. L’archevêque de Milan et le gouvernement de l’écrit (1564-1631)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040177.
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L’époque moderne est marquée à Milan par l’empreinte de Charles Borromée, archevêque de 1564 à 1584. Canonisé en 1610 pour être donné en modèle du parfait évêque dans toute la chrétienté, Charles Borromée conçoit avant tout son rôle historique à l’échelle lombarde, par une mainmise sans précédent sur l’écrit. Quand les études se sont arrêtées sur la discipline sociale imposée par les évêques tridentins, le parti de cette thèse est de porter l’attention sur le phénomène du gouvernement de l’écrit borroméen, de l’épiscopat de Charles à celui de son cousin Frédéric Borromée (1595-1631). Les individus pris en compte ne se limitent pas aux familiers de la maison de l’archevêque. Sont retenues les trajectoires les plus saillantes de ceux qui écrivent pour l’archevêché et forment son « atelier ». Le corpus examiné réunit des écrits savants et hagiographiques, aussi bien qu’administratifs et juridiques. En observant les formes prises par l’écrit et les contraintes du service de l’archevêque par la plume, on lie ensemble deux histoires d’ordinaire dissociées : la fabrique d’un modèle d’évêque et les pratiques d’écriture commandées par le gouvernement épiscopal. La thèse présente successivement la formation de l’atelier de l’archevêque aux lendemains du concile de Trente, la fabrication locale de l’autorité de Charles Borromée au début du XVIIe siècle, enfin la sortie du modèle de l’atelier, avec l’institution, par Frédéric Borromée, d’une bibliothèque érudite peuplée de lettrés de métier, la Bibliothèque Ambrosienne (1609). L’attention aux mécanismes, formes et supports de l’écriture mise au service de l’archevêque de Milan révèle une conception du pouvoir à l’époque moderneModern Milan is marked with the seal of Carlo Borromeo, archbishop from 1564 to 1584. Though his canonization in 1610 establishes him as a model for the entire Christian world, Carlo Borromeo defines his historical role mainly within the boundaries of Lombardy, where he secures an unprecedented control over the written production. Whereas previous studies have focused on the social discipline enforced by the Tridentine bishops, this thesis draws the attention on the Borromean governance of the written production, from Carlo’s to his cousin Federico’s archbishopric (1595-1631). Its scope is not limited to the members of the archbishop’s family: the remarkable careers of individuals writing for the archbishop, members of his « workshop », are thoroughly studied. The examined sources encompass hagiographic, learned, as well as administrative and legal texts. Through an analysis of these various kinds of writings and of the constraints weighing on whoever served the archbishop with a pen, this thesis links two usually separated historical topics: the elaboration of a model of bishop and the specific practices imposed by a Modern bishop in the written production. We examine successively the forming of the archbishop’s workshop just after the Council of Trent, the local elaboration of Carlo Borromeo’s authority in the early 17th c. and finally Federico Borromeo’s dissociation from the model of the workshop through the setting up of a college of learned men endowed with an erudite library, the Ambrosiana (1609). The description of the mechanisms, shapes and media of the texts written for the archbishop of Milan sheds light on a conception of power in Modern Times
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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David, L. Kencik. "The Triumph of the Eucharist in the Paintings for the Sala dell’Albergo and the Sala Superiore in the Scuola Grande di San Rocco by Jacopo Tintoretto (ca. 1518/19-1594)." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1590600384514719.
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Bucken, Véronique J. "Joos Van Winghe (1542/4-1603), peintre à Bruxelles, en Italie et à Francfort." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212988.
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Scheu, Julia. "Ut pictura philosophia." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2017. http://dx.doi.org/10.18452/17801.
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Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache.The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.
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LUNA, GONZALEZ Adriana. "From self-preservation to self-liking in Paolo Mattia Doria : civil philosophy and natural jurisprudence in the early Italian Enlightenment." Doctoral thesis, 2009. http://hdl.handle.net/1814/12705.
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Defence Date: 07/09/2009Examining Board: Prof. Martin van Gelderen (European University Institute) supervisor; Prof. Vittor Ivo Comparato (Università di Perugia); Prof. Sebastian Conrad (European University Institute); Prof. Maurizio Viroli (Princeton University) external supervisor
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
From the outset of his intellectual life Doria had been a civil philosopher interested in reflecting, in a secular manner on the foundations of civil society thereby departing from the more traditional discussions that took as their framework moral philosophy and natural law theories. Unlike other Catholic thinkers, when discussing happiness Doria was not interested in debating religious issues such as salvation, revelation, or the states of beatitude or contemplation and how these might give meaning to ‘ happiness’. For this reason this thesis explores Doria’s varying and evolving conceptions of human nature and happiness, trying to follow their development and their role in shaping Doria’s political thought. A further aim is to ascertain the implications of these developments and to analyse Doria’s discussions of the foundations of the civil life, his understanding of men as individuals, their sociability and the legitimation of human politics. I am interested in elucidating to what extent he believed that men act as moral beings in Doria’s political philosophy, which features of their psychologies he considers decisive in judging men’s rationality and morality, i.e. how he grounds their judgements and acts in order to justify their legitimacy. In short the key question here is: How, in other words, does Doria ground his theory of human agency and men’s freedom to act in politics? Doria is writing at a critical moment in the history of civil and moral philosophy not only in the Neapolitan but also, in the European context.
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TERVOORT, Adrianus. "The Iter Italicum and the Northern Netherlands : Dutch students at Italian universities and their role in the Netherlands' society." Doctoral thesis, 2000. http://hdl.handle.net/1814/5995.
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Defence date: 14 October 2000Supervisors: Prof. dr. J. Brewer ; Prof. dr. H. de Ridder-Symoens
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DUNI, Matteo. "Tra religione e stregoneria ecclesiastici e pratiche magiche a Modena nel XVI secolo." Doctoral thesis, 1999. http://hdl.handle.net/1814/5783.
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Defence date: 15 October 1999Examining Board: Prof. Robert Rowland, ISCTE, Lisbona (supervisor) ; Prof. Antonio Rotondó, Università di Firenze (co-supervisore) ; Prof. Ottavia Niccoli, Università di Trento ; Prof. Gérard Delille, IUE
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ROMANO, Davide. "Church reform without the church : Reginald Pole's experience in Italy (1521-1553)." Doctoral thesis, 2015. http://hdl.handle.net/1814/40746.
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Defence date: 10 December 2015Examining Board: Professor Antonella Romano, European University Institute; Professor Jorge Flores, European University Institute; Professor Simon Ditchfield, University of York; Professor Massimo Firpo, Scuola Normale Superiore di Pisa.
Reginald Pole's 1532 return to Italy, where he had spent five years between 1521 and 1526 to complete his studies, marked the beginning of his rapid rise in the ecclesiastical hierarchy. Not only did the Plantagenet cousin of Henry VIII come close to being elected pope, but he also became the focus of the widespread expectations of Church reform. For his part, however, Pole did never outline a concrete programme for reform, not even in his De reformatione Ecclesiae, on which he worked from the eve of the council of Trent until the last years of his life. The numerous versions of this unpublished treatise have been the starting point of my study, which examines the apparent contradiction between Pole's silence on the practical measures to restore Peter's ship to its pristine state and the high hopes he aroused as a reformer, to the extent that he was often hailed as the long-awaited Angelic Pope. The analysis of De reformatione shows a peculiar conception of reform, grounded in Pole's "radical eclecticism" (both at philosophical and at doctrinal level) as well as in his belief in the coexistence of the exoteric ecclesiastical institution and the esoteric spiritual Church. The development of this unconventional ecclesiology was significantly inspired by a usually neglected source, that is to say the Joachimist tradition within which the prophetic myth of the Angelic Pope developed before reaching Pole, at the time of his first sojourn in Italy. These convictions led him, along with the circle of the spirituali of Viterbo, to put into practice a reform outside of the Tridentine council, by means of the same non-institutional channels through which they attempted to spread the religious message that lay at the heart of their undeclared programme.
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SCHELLEKENS, Christophe. "Merchants and their hometown : Florentines in Antwerp and the Duchy of Florence (ca 1500-1585)." Doctoral thesis, 2018. http://hdl.handle.net/1814/60218.
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Defence date: 10 December 2018Examining Board: Professor Luca Molà, University of Warwick & EUI (Supervisor) ; Professor Regina Grafe, EUI (second reader) ; Dr. Francesco Guidi-Bruscoli, University of Florence ; Dr. Maartje van Gelder, University of Amsterdam.
This dissertation investigates the ties between Florentine merchants in Antwerp and their hometown in the sixteenth century. It demonstrates that such ties were of great importance to them and are crucial to understand their actions and strategical decisions. Despite being an outdated institution, the Florentine nation in Antwerp remained an important point of reference for the merchant community, and depending on its concrete strategical value it was treated with either indifference or great attention by its home government in Florence. The members of the nation in Antwerp predominantly had a background in the Florentine Office Holding Class, which indicates that social dynamics in Florence resonated in the composition of the community in Antwerp. Apart from the nation, merchants also were guided by their Florentine background in forming their business ties. In their partnerships, they relied strongly on investments from other Florentines, and in Antwerp they largely selected collaborators with a Florentine background. This also goes up on a long-distance level, where a large number of their international contacts were with Florentines in other centers of commerce in Europe. Their ties with their hometown were stronger than has been assessed thus far. Apart from commercial ties with their hometown, Florentine merchants in Antwerp also sought to develop patronage ties with their home ruler, Duke Cosimo I through the provision of various services. As demonstrated by the case of Gaspare Ducci, also merchants that developed strong ties in the Low Countries and settled there, sought to maintain ties with their region of origin. By pointing to the importance of merchants’ hometown, this thesis contributes to debates about the relation between politics and commerce, the relation between informal networks and formal institutions, as well as the explanatory value of diaspora and cross-cultural trade.
Chapter 1 'The Florentine nation in Antwerp (ca. 1500-1585): the membership and meaning of an institution' of the PhD thesis draws upon an earlier version published as an article 'The Antwerp joyous entry of 1549 : the Florentine-Genoese conflict as a window on the role of a trading nation in political cultural transfers' (2015) in the journal 'Incontri'
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KIRK, Thomas Allison. "Genoa and the sea : ships and power in the early modern Mediterranean (1559-1680)." Doctoral thesis, 1996. http://hdl.handle.net/1814/5857.
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Defence date: 5 July 1996Examining board: Prof. Franco Angiolini, Università degli Studi di Pisa (co-supervisor) ; Prof. Kirti N. Chaudhuri, European University Institute (supervisor) ; Prof. Laurence Fontaine, European University Institute ; Dr. Richard Mackenney, University of Edinburgh ; Prof. Rodolfo Savelli, Università degli Studi di Genova
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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NORDERA, Marina. "La donna in ballo : danza e genere nella prima eta moderna." Doctoral thesis, 2001. http://hdl.handle.net/1814/5918.
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Defence date: 19 April 2001Examining Board: Eugenia Casini Ropa (DAMS, Università di Bologna, Supervisore esterno) ; Mark Franko (University of California, Santa Cruz) ; Luisa Passerini (Istituto Universitario Europeo, Supervisore) ; Barbara Sparti (Roma)
First made available online on 4 May 2018
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ESPINOSA, Miguel Palou. "Alfonso Fontanelli (1557-1622), noble y compositor : un estudio socio-cultural sobre la nobleza y la práctica musical en el tardo-renacimiento italiano." Doctoral thesis, 2016. http://hdl.handle.net/1814/40844.
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Defence date: 18 April 2016Examining Board: Profesor Luca Molà, European University Institute, Florence; Profesor Stéphane Van Damme, European University Institute, Florence; Profesor Tim Carter, University of North Carolina at Chapel Hill; Profesor Carmen Sanz Ayán, Universidad Complutense de Madrid.
Many scholars have shown the importance of musical education for noblemen in late Renaissance Italy. For both individuals and groups, music could be used as a tool for process of self-identity, helping them to construct their aesthetical forma del vivere. In fact, along with a sum of literate and aesthetical knowledge, music was an integral element of the culture of la conversazione. Noblemen and noblewomen displayed a large variety of artistic and literary virtues in courtly, academic and private-exclusive gatherings, in order to create distinctive spaces of sociability and self-fashioning. However, could the printing of music, composed by noblemen, affect or contradict their socio-cultural rules of distinction, exclusiveness and discretion? To address this issue, my dissertation will focus on the period between 1570 and 1620, in the Italian peninsula; where there was a major accumulation of composers who identified themselves as nobili or gentiluomini on the covers of their books. Through the case of count Alfonso Fontanelli, from Reggio Emilia, the aim of this thesis is to explore the role of musical composition in nobles' cultural sociability (incorporated in friendly and patronage networks) and the processes of construction of Fontanelli's cultural selfprestige. Fontanelli's biography provides a variety of socio-cultural experiences and interactions in the three different cities where he displayed his musical virtues: Ferrara, Rome and Florence. Hence, this case study allows us to compare the diverse functions of music for the nobility of these three cities (considering their respective socio-political and cultural particularities) as well as to contrast Fontanelli with other noble composers of the time. Finally, the results of this thesis will offer interesting reflections about the plasticity of noble culture and its relation with music, the diversity of socio-cultural strategies through musical practices, and the complex social dynamics involved in the concept of "authorship" in printed music.
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MERCAN, Fatma Özden. "In the shadow of rivalry and intrigues : diplomatic relations of Genoa and Florence with the Ottoman Empire during the Sixteenth-century." Doctoral thesis, 2017. http://hdl.handle.net/1814/46625.
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Defence date: 30 May 2017Examining Board: Professor Luca Molà, EUI (Supervisor); Professor Jorge Flores, EUI; Professor Maria Pia Pedani, Università Ca’ Foscari, Venezia; Professor Kate Fleet, University of Cambridge
This dissertation focuses on the relations of Genoa and Florence with the Ottoman Empire in the sixteenth century, with a specific emphasis on key moments in their diplomatic contacts. Triggered by political and economic factors, both states attempted to restore their relations with the Ottoman Empire in the second half of the sixteenth century. Building largely on Italian archival material and complementing it with Ottoman and European sources, this study reconstructs each diplomatic negotiation process that took place and highlights the complex environment in which they occurred. Although the Genoese and the Florentine diplomatic enterprises took place at different times (the Genoese during the late 1550s and the Florentines in the 1570s and 1590s) and under different circumstances, they followed similar patterns, shared common experiences and were confronted with the same obstacles. Thus one of the main contributions of this study is to examine Genoese and Florentine diplomacy with the Ottoman Empire together, and to present a comprehensive picture of the intricacies of cross-cultural diplomacy in the early modern period, placing specific emphasis on actors, stratagems and exchanges. In so doing, it also sheds light on the dynamics of political configurations and alliances as well as inter-state rivalries, which were shaped by commercial and political interests in the early modern Mediterranean.
Chapter 5 ‘Medici-Ottoman Diplomatic Relations (1573-1580) : What Went Wrong' of the PhD thesis draws upon an earlier version published as chapter 'Medici–Ottoman diplomatic relations (1574-78) : what went wrong?' (2016) in the book ‘The Grand Ducal Medici and the Levant’
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FANTONI, Marcello. "La citta del Principe :Spazio urbano e potere principesco nell'Italia dei secoli XIV-XVII." Doctoral thesis, 1991. http://hdl.handle.net/1814/5756.
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CRISTELLON, Cecilia. "Charitas versus eros : il matrimonio, la chiesa e i suoi giudici nella Venezia del Rinascimento (1420-1545) by Cecilia Cristellon." Doctoral thesis, 2005. http://hdl.handle.net/1814/5791.
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Defence date: 2 September 2005Examining board: Prof. Gérard Delille (Supervisor) ; Prof. Anthony Molho, European University Institute ; Prof. Edward Muir, Northwestern University ; Prof. Silvana Seidel Menchi, Università di Pisa
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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VON, TIPPELSKIRCH Xenia. "Sotto controllo : letture femminili all'inizio dell'epoca moderna in Italia." Doctoral thesis, 2003. http://hdl.handle.net/1814/5999.
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Defence date: 2 October 2003Examining board: John Brewer, IUE/California Institute of Technology (supervisor) ; Hans Erich Bödeker, IUE/Max-Planck-Institut Göttingen ; Peter Burke, University of Cambridge ; Mario Infelise, Università degli Studi di Venezia
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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LORENZETTI, Stefano. "La vita nostra simile agli stromenti musici : educazione alla musica, mentalita e immaginario nell'Italia del Rinascimento." Doctoral thesis, 2001. http://hdl.handle.net/1814/5885.
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Defence date: 23 February 2001Examining board: Franco Angiolini, supervisor (Università di Pisa) ; Lorenzo Bianconi (Università di Bologna) ; Hans-Erich Bödeker (Max-Planck Institut, Göttingen e IUE ; Iain Fenlon (Università di Cambridge)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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KAVVADIA, Maria. "Making medicine in post-tridentine Rome : Girolamo Mercuriale's "De Arte Gymnastica" : a different reading of the book." Doctoral thesis, 2015. http://hdl.handle.net/1814/37638.
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Defence date: 22 September 2015Examining Board : Professor Antonella Romano, EUI; Professor Luca Molà, EUI; Professor Andrea Carlino, University of Geneva; Professor Conceta Pennuto, University of Geneva.
Western medical tradition, resting on Hippocrates and Galen, has been divided into two parts: hygiene (or dietetics) – the conservative/preventive part, and therapeutics – the curative part. Historians and sociologists of medicine have shown an unparalleled interest in the curative side of medicine, an interest that possibly reflects the focus of modern western medicine on curing disease. Conversely, the conservative side of medicine and prevention as a medical method and process has attracted far less scholarly attention in the studies in the history of medicine. Nonetheless, in both the Hippocratic and Galenic works that dominated medical thought and practice until well into the seventeenth century, medicine was not only conceptualized as the art of curing disease but also as the art of preserving health – the art of wellbeing. The Renaissance in Italy saw the recovery and revival of the classical dietetic literature by the medical humanists, which had a profound impact on the organisation of academic medicine and brought developments in the preventive paradigm. During the sixteenth century the genre of preventive literature flourished, with numerous medical writings being published in both Latin and the vernacular. These medical writings (academic treatises, health manuals, books of secrets, etc.), which were shaped by historical events and socio-cultural parameters, reflect contemporary perceptions of and attitudes to health and disease. In this historical background the present study examines the De arte gymnastica (Venice, 1569), a medical treatise by the humanist physician Girolamo Mercuriale of Forlì (1530-1606). In his De arte gymnastica Mercuriale promotes the medical gymnastics as an ideal method for the conservation and/or obtainment of health based on the benefits of exercise in the maintenance of health and the treatment of disease. Providing a reading of Mercuriale's work in terms of a medical discourse, the present study aims to throw additional light on the historical understanding of Mercuriale's De arte gymnastica as a sixteenth-century medical treatise and his medical gymnastics as a method of preventive medical treatment, addressing Mercuriale's claims regarding aspects of medical theory and practice. In this endeavour the present study identifies Mercuriale's De arte gymnastica as a product of the sixteenth-century Roman context, taking into consideration Mercuriale's professional post as the personal physician of Cardinal Alessandro Farnese (1520- 4 1589), a leading Churchman and one of the richest and most powerful patrons of his day. In this context the present study demonstrates how Mercuriales' medical discourse as a court physician addressing the elite audience of Rome corresponded to contemporary medical needs, issues, debates but as well as to social-cultural demands and aspirations as these emerged in a time of religious and spiritual crisis that was marked by the Council of Trent.
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EVANGELISTI, Silvia. "La povertà impossibile : monache, famiglia e proprietà in Italia (secc XVI-XVIII)." Doctoral thesis, 1998. http://hdl.handle.net/1814/5758.
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Defence date: 30 April 1998Examining board: Prof. Renata Ago, Università di Cagliari ; Prof. Gérard Delille, Istituto Universitario Europeo ; Prof. Olwen Hufton, Morton College Oxford (Supervisor) ; Prof. Gianna Pomata, Università di Bologna e University of Minnesota, Minneapolis ; Prof. Gabriella Zarri, Università di Firenze
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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MATRINGE, Nadia. "L'entreprise florentine et la place de Lyon : l'activité de la banque Salviati au milieu du XVIe siècle." Doctoral thesis, 2013. http://hdl.handle.net/1814/29619.
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Defence date: 6 December 2013Examining Board: Professor Antony Molho, EUI (supervisor); Professor Jacques Bottin, CNRS (external supervisor); Professor Antonella Romano, EHESS; Dr. Francesco Guidi Bruscoli, Università degli Studi di Firenze
This thesis was awarded the European Business History Association (EBHA) Dissertation Prize 2014 in Utrecht in August 2014.
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The commercial archives of the Salviati bank of Lyons record the entire activity of one of the most important companies on the 16thcentury marketplace. They also keep information relative to other businessmen and companies on the European scene at the time. This thesis scrutinises the organisation, methods and main sectors of activity of the Salviati bank (exchange, finances and commodities trade) in the middle of the 16th century, at the height of Lyons’ prosperity. It examines mercantile practices in relation to economic spaces and underlines the reciprocal influence of Florentine mercantile traditions and Lyonese economic structures. More specifically, it shows how the involvement of Italian firms in Lyons shaped their choice of business organisation and trade objects and how the strategies of Italian businessmen impacted in turn on the functioning of the marketplace. While the study of the Lyonese branch of a Florentine firm allows to assess its adaptability to local economic structures, the analysis of the activity of the main actors on the Lyons marketplace sheds light on the economic and social processes essential to the good functioning of that marketplace (forms of collaboration between various economic operators and different levels of market integration). This leads to a questioning of many of the hypotheses formulated in the current historiography (mostly, on the basis of local sources), concerning the Italian dominion over Lyons, and a refutation of the vision of market organisation and changing economic conditions that it puts forward. The section devoted to the exchange business, the main field of specialisation of the Salviati bank at the time, challenges the notion of Lyon’s key function in the European system of exchange. The uncovering of previously unknown financial techniques, and of techniques whose use in the space-time frame of this thesis is traditionally denied, brings an additional contribution to the history of banking.
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Lehne, Eva. "Jazykový rozbor Cestopisu Bedřicha z Donína." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297152.
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The thesis analyses selected phenomena of graphy, phonology, morfology, lexicology and words-formation of the Frederick from Donin's Czech book of travels, which was written at the turn of the 16th and 17th century. Partly, it also deals with the syntax and style of the work. Selected phenomena of individual language levels are studied using the original manuscript. The thesis intends to show in which aspects the text is close to early modern language usage, and conversely in which aspects it differs from it. The language of the manuscript is also compared with the contemporary Czech language.
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ALVAREZ, GONZALEZ Marta. "Creating ephemeral triumphs :celebration and politics in the marriage of Carlo Emanuele I of Savoy and Catherine of Austria (1585)." Doctoral thesis, 2003. http://hdl.handle.net/1814/5817.
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Defence date: 19 January 2004Examining board: Prof. Gérard Delille (supervisor) ; Prof. Tony Molho (IUE) ; Prof. Marcello Fantoni (Georgetown University) ; Prof. Cesare Mozzarelli (Università Cattolica Milano)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017