Dissertations / Theses on the topic 'Italian Early modern'
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Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
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Griffiths, Sarah Abigail. "Luigi Rossi: Early Baroque Italian Cantatas for the Modern Singer, with Modern Editions of Selected Works." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84209/.
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The early baroque songs, or cantatas, of Luigi Rossi (1597-1653) are largely absent from the canon of standard Italian vocal repertory utilized by young singers and voice teachers today. In this document Rossi’s composition style is considered, along with modern edition trends, within the emerging genre of Italian early baroque song. Several of Luigi Rossi’s vocal works — chosen for their simplicity, brevity, dramatic content, and suitability for a young singer — are presented in modern transcriptions for voice and piano. The following document lays the groundwork for the inclusion of Luigi Rossi’s songs in the modern canon of Italian vocal music. Part I provides an introduction to Luigi Rossi and the considerations involved in creating modern editions of early baroque solo vocal music. In Chapter 1, Rossi’s patronage and compositional output are considered along with the reception and dissemination of his works in Italy and France. Chapter 2 of this study explores the historical context and lasting influence of Parisotti’s Arie Antiche, the larger collection from which the ubiquitous Schirmer edition, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, is drawn. One well-known song that appears in the Schirmer edition is Giulio Caccini’s Amarilli, mia bella. In an effort to illustrate trends in modern editions and performance practice, this song is traced from its first appearance in 1602 through representations in modern anthologies. Chapter 3 considers the practical concerns of modern editors of baroque vocal music – such as performance practice applications, ornamentation, and pedagogical considerations – with respect to the cantatas of Luigi Rossi. Chapter 4 discusses the three cantatas by Luigi Rossi that are presented in Part II as performance editions.
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Lawrence, Jason. "'Who the Devil taught thee so much Italian?' : Italian language learning and literary imitation in early modern England /." Manchester : Manchester university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40049006j.
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Maxson, Brian. "Review of The Early Modern Italian Domestic Interior, 1400-1700: Objects, Spaces, Domesticaries." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/6192.
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Papworth, Amelia. "A forgotten bestselling author : Laura Terracina in early modern Naples." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290109.
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This dissertation provides a critical assessment of Laura Terracina (1519-c.1577) and her works. It argues that she was a consummate product of her age, embodying the tensions which ruled the Italian peninsula. Terracina published eight books and left a ninth in manuscript at the time of her death, winning legions of admirers and making her sixteenth-century Italy's most commercially successful female author. Yet in spite of her enormous popularity amongst her contemporaries, scholarship has largely neglected Terracina. This dissertation will open up an overdue field of enquiry into her life and works, exploring the significance of her role as a sixteenth-century female poet through the lenses of gender and class. By mapping her place in the literary landscape, it is hoped that this thesis will encourage scholars to afford Terracina the attention she so richly deserves. The first chapter of the dissertation situates Terracina as a poet of Naples, seeing her as a product of her family's political standing within the city, her academician status, and her own construction of an urban coterie of supporters. The second chapter considers the mechanics of the journey into print, assessing Terracina's own input and her close collaboration with male editors and publishers. It proposes a greater attribution of agency to Terracina than has thus far been made, arguing that she is, in fact, an important figure in the process of her texts reaching the hands of readers. The third chapter considers how the poet used her printed books as social tools, employing them to gain social and literary capital. The second section of the dissertation looks at two thematic strands within Terracina's poetry. Chapter four considers her political poetry, including her attitude towards the harm done to civilian populations across Europe. Chapter five looks at the religious dimension to Terracina's work, the spiritual poetry written in her later years, and the relationship this bears to her secular lyric. Finally, the dissertation concludes with a chapter on the contemporary reception of Terracina's texts, providing preliminary thoughts on how she was read, before closing with a consideration of her literary afterlife in the centuries that followed.
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Redmond, Michael John. "The Scence lyes in Italy : representations of Italian culture in early modern English drama." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321486.
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Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.
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This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.
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Slade, Paul Robert. "Italia conquistata : the role of Italy in Milton's early poetic development." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32857.
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My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition. After considering the significance of the Italian titles of L’Allegro and Il Penseroso, I assess the impact of Italian verse forms (and particularly the canzone) upon Milton’s early poetry in English and the question of the nature of the relationship between Milton’s Mask presented at Ludlow Castle and Tasso’s ‘favola boschereccia’, Aminta. Finally, I consider the place in Milton’s career of his journey to Italy in 1938-9 and its importance to him as a personal ‘conquest’ of Italy. I suggest that, far from setting him upon the path toward poetic glory, as is often claimed, his return England marked the beginning of a lengthy hiatus in his poetic career. My argument is that Milton was much more Italianate, by background, accident of birth and personal bent, than has usually been recognised and that an appreciation of how this Italian aspect of his cultural identity contributed to his poetic development is central to an understanding of his poetry.
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Maddaluno, Lavinia. "Practices of science and political economy between the State of Milan and the Italian Republic (1760s-1805)." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/270118.
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This dissertation explores the intersection between scientific practices and political economy from the time of Maria Theresa's and Joseph II's reforms in the Habsburg State of Milan to the Cisalpina and Italian Republics. It is structured in four parts, corresponding to the themes of "appropriations", "technologies", "spaces" and "soils". Each of these parts comprises of two chapters, with the exception of the last one on "soils". Part I, named "Appropriations", explores how the Società Patriotica took on board the practices and debates which originated in the context of French Physiocracy, such as economic milling and the question of the scale of land-holdings, and analyses how they were appropriated to fit the political economy of the State of Milan. Part II, titled "Technologies", takes into account the attitudes of Milanese reformers, public officers and naturalists towards mechanical arts and, in general, towards technology for the achievement of the felicità and utilità pubblica. Part III of the dissertation has been named "Spaces". It focuses on the travels of naturalists Domenico Vandelli, Paolo Sangiorgio and Lazzaro Spallanzani, using them as starting points to examine the significance of natural history practices, such as travelling and collecting, for an understanding of contemporary political economy. Part IV, titled "Soils", examines a series of texts about the management and making of salnitro, showing their relevance in the context of the newly founded Italian Republic. Overall, the thesis aims to acknowledge the complexity, as well as the intellectual debts, of the production of political economy and scientific knowledge in the State of Milan, and pushes forward the debate on the Italian Enlightenment, by opposing those narratives which have represented it as a marginal and peripheral case in the broader and more "international" European Enlightenment.
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Smith-Laing, Tim. "Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.
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This thesis offers an approach to the history of mythographical discourse through the figure of Theseus and his appearances in texts from England, Italy and France. Analysing a range of poetic, historical, and allegorical works that feature Theseus alongside their classical and contemporary intertexts, it is a study of the conceptions of Greco-Roman mythology prevalent in European literature from 1300-1600. Focusing on mythology’s pervasive presence as a background to medieval and early modern literary and intellectual culture, it draws attention to the fragmentary, fluid and polymorphous nature of mythology in relation to its use for different purposes in a wide range of texts. The first impact of this study is to draw attention to the distinction between mythology and mythography, as a means of focusing on the full range of interpretative processes associated with the ancient myths in their textual forms. Returning attention to the processes by which writers and readers came to know the Greco-Roman myths, it widens the commonly accepted critical definition of ‘mythography’ to include any writing of or on mythology, while restricting ‘mythology’ to its abstract sense, meaning a traditional collection of tales that exceeds any one text. This distinction allows the analyses of the study’s primary texts to display the full range of interpretative processes and possibilities involved in rewriting mythology, and to outline a spectrum of linked but distinctive mythographical genres that define those possibilities. Breaking down into two parts of three chapters each, the thesis examines Theseus’ appearances across these mythographical genres, first in the period from 1300 to the birth of print, and then from the birth of print up to 1600. Taking as its primary texts works by Giovanni Boccaccio, Geoffrey Chaucer, John Lydgate and William Shakespeare along with their classical intertexts, it situates each of them in regard to their multiple defining contexts. Paying close attention to the European traditions of commentary, translation and response to classical sources, it shows mythographical discourse as a vibrant aspect of medieval and early modern literary culture, equally embedded in classical traditions and contemporary traditions that transcended national and linguistic boundaries.
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Antonucci, Ryan J. "Changing Perceptions of il DuceTracing Political Trends in the Italian-American Media during the Early Years of Fascism." Youngstown State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1379111698.
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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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Maxson, Brian. "The Many Shades of Praise: Politics and Panegyrics in Fifteenth-Century Florentine Diplomacy." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/6187.
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Fifteenth-century diplomatic protocol required the city of Florence to send diplomats to congratulate both new and militarily victorious rulers. Diplomats on such missions poured praise on their triumphant allies and new rulers at friendly locations. However, political realities also meant that these diplomats would sometimes have to praise rulers whose accession or victory opposed Florentine interests. Moreover, different allies and enemies required different levels of praise. Jealous rulers compared the gifts, status, and oratory that they received from Florence to the Florentine entourages sent to their neighbors. Sending diplomats with too little or too much social status and eloquence could spell diplomatic disaster. Diplomats met these challenges by varying the style, structure, and content of their speeches. Far from formulaic pronouncements of goodwill, diplomatic orations varied from one speech to the next in order to meet the demands of the complex diplomatic world into which they fit. Contextualizing these orations reveals the subtle reservations of diplomats praising a hostile ruler, the insertion of specific citations to flatter specific audiences, and the changing intellectual and stylistic interests of humanists throughout the fifteenth century. This essay will examine the different shades of flattery practiced by Florentine diplomats and the contexts that explain these variations.
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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.
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Marriott, Brandon John. "The birth pangs of the Messiah : transnational networks and cross-religious exchange in the age of Sabbatai Sevi." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:ed4243fe-d113-4d7e-9704-f0361b966d33.
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Between 1648 CE and 1666 CE, news, rumours, and theories about the messiah and the Lost Tribes of Israel were disseminated amongst diverse populations of Jews, Christians, and Muslims. Employing a world history methodology, this thesis follows three sets of such narratives that were spread through the American colonies, England, the Dutch Republic, the Italian peninsula and the Ottoman Empire, connecting people separated by linguistic, religious, national, and continental divides. This dissertation starts by situating this transmission within a broader context that dates back to 1492 CE and then traces the three-stage process in which eschatological constructs originating in the Americas in the 1640s were transmitted across Europe to the Levant in the 1650s, preparing the minds of Jews and Christians for the return of these ideas from the Ottoman Empire in the 1660s. In this manner, this study seeks to make three contributions to the existing literature. It brings together often isolated historiographies, it unearths fresh archival sources, and it provides a new conceptual framework. Overall, it argues that one cannot understand the growth of apocalyptic tension that reached its peak in 1666 without examining the major historical events and processes that began in 1492 and affected Jews, Christians, and Muslims across the Atlantic and Mediterranean worlds.
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Hodder, Mike. "Petrarch in English : political, cultural and religious filters in the translation of the 'Rerum vulgarium fragmenta' and 'Triumphi' from Geoffrey Chaucer to J.M. Synge." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:49cdf913-cd2a-48c6-bf1e-533052018285.
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This thesis is concerned with one key aspect of the reception of the vernacular poetry of Francesco Petrarca (Petrarch), namely translations and imitations of the Rerum vulgarium fragmenta (Rvf) and Triumphi in English. It aims to provide a more comprehensive survey of the vernacular Petrarch’s legacy to English literature than is currently available, with a particular focus on some hitherto critically neglected texts and authors. It also seeks to ascertain to what degree the socio-historical phenomena of religion, politics, and culture have influenced the translations and imitations in question. The approach has been both chronological and comparative. This strategy will demonstrate with greater clarity the monumental effect of the Elizabethan Reformation on the English reception of Petrarch. It proposes a solution to the problem of the long gap between Geoffrey Chaucer’s re-writing of Rvf 132 and the imitations of Wyatt and Surrey framed in the context of Chaucer’s sophisticated imitative strategy (Chapter I). A fresh reading of Sir Philip Sidney’s Astrophil and Stella is offered which highlights the author’s misgivings about the dangers of textual misinterpretation, a concern he shared with Petrarch (Chapter II). The analysis of Edmund Spenser’s Amoretti and Epithalamion in the same chapter reveals a hitherto undetected Ovidian subtext to Petrarch’s Rvf 190. Chapter III deals with two English versions of the Triumphi: I propose a date for Lord Morley’s translation which suggests it may be the first post- Chaucerian English engagement with Petrarch; new evidence is brought to light which identifies the edition of Petrarch used by William Fowler as the source text for his Triumphs of Petrarcke. The fourth chapter constitutes the most extensive investigation to date of J. M. Synge’s engagement with the Rvf, and deals with the question of translation as subversion. On the theoretical front, it demonstrates how Synge’s use of “folk-speech” challenges Venuti’s binary foreignising/domesticating system of translation categorisation.
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Soykut, Mustafa. "Image of the Turk in Italy : a history of the Other in Early modern Europe, 1453-1683 /." Berlin : K. Schwarz, 2001. http://catalogue.bnf.fr/ark:/12148/cb38947181n.
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Pompermaier, Matteo. ""Le vin et l'argent" : osterie, bastioni et marché du crédit à Venise au XVIIIe siècle." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMR021.
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Cette thèse s’intéresse au marché du crédit à Venise au XVIIIe siècle. Une partie importante de la recherche se concentre sur une offre de crédit spécifique au contexte vénitien, qui avait lieux dans les osterie (auberges) et les bastioni de la ville, des entrepôts où le vin était vendu à emporter. Le vin et l’argent étaient deux éléments intrinsèquement liés et trouvaient un point de contact dans l’activité des osti (aubergistes) et des bastioneri. Ces derniers offraient à leurs clients un service original de prêt sur gage. Ils assumaient le double rôle des fournisseurs de biens de consommation de base et de créanciers, devenant ainsi des figures incontournables dans le contexte urbain, en particulier pour les membres des couches les plus pauvres. L’un des éléments les plus intéressants est la manière dont les intérêts sur les prêts étaient perçus, puisque les créanciers tiraient profit du fait qu’un tiers de la valeur totale des crédits était payé en vin. La valeur faible des prêts confirme que ce service s’adressait principalement aux classes les plus fragiles de la société, c’est à dire les principaux protagonistes de ce que nous avons appelé l’économie ‘du mouchoir’. Il s’agissait surtout d’individus pauvres mais pas ‘très pauvres’, ceux qui n’avaient pas de grandes réserves d’argent et qui étaient vulnérables en raison de l’irrégularité de leurs revenus. Les objectifs de la recherche sont principalement au nombre de deux. Le premier consiste à analyser l’activité de crédit des bastioni et des osterie. Le second est de replacer cette organisation dans le contexte urbain, en analysant le marché dans son ensemble et en évaluant les caractéristiques et les variables qui pouvaient influencer la demande. Par conséquent, afin d’avoir une vision plus complète du marché, toutes les omposantes principales de l’offre ont été prises en considération. Outre les bastioni et les osterie mentionnés ci-dessus, les autres activités de prêts ont été analysés et comparés : l’activité des banques juives dans le Ghetto, mais aussi celle des monts-de-piété des villes de la terre ferme vénitienne, des notaires et des prêteurs privés. De cette façon il a été possible d’enquêter sur les relations existantes entre les différents circuits de crédit, et de démontrer qu’ils n’étaient pas en concurrence les uns avec les autres, mais qu’il s’agissait plutôt d’un marché segmenté. La recherche s’adresse aussi bien aux spécialistes de l’histoire vénitienne qu’aux historiens de l’économie dans d’autres contextes, en proposant une nouvelle méthodologie et un cas d’étude qui appellent à la comparaison dans d’autres villes à l’époque moderneThis thesis analyses the credit market in Venice during the 18th century. An important part of this research focuses on a quite unique credit system, specific to the Venetian context, that was offer through the inns, or osterie, and the bastioni (warehouses where wine was sold) of the city. In 18th century Venice, wine and money were intrinsically linked through the activity of the innkeepers and the bastioneri (the managers of the bastioni), who originally offered their customers a pawnbroking service. They assumed the double roles of suppliers of basic goods and creditors, thereby becoming central economic figures in Venice’s urban context – especially for the members of the poorest classes. One of the most innovative elements of this research lies in the findings regarding the way that interest on loans was collected: creditors benefited from the fact that one-third of the total value of the transaction was paid in wine. The low average value of the loans confirms that this service was mainly aimed at the lower classes of society, the main actors in what has been defined as ‘the handkerchief economy’. Those who benefited the most from this kind of credit arrangement were essentially poor – but not too poor – people, who had only modest reserves of money, and were thus more vulnerable due to the paucity and irregularity of their income. The main objective of this research is twofold: (a) to analyze the credit activity of bastioni and osterie, and (b) to place it in the Venetian urban context. This study analyzed the Venetian credit market as a whole, and then assessed the characteristics and variables that could influence the demand for credit. Moreover, to develop a more complete view of this specific market, all the main components of the credit offer were taken into consideration. In addition to the already mentioned bastioni and osterie, the activities of Jewish bankers in the Ghetto, the monti di pietà situated on the Venetian mainland, as well as those of the notaries and the private lenders, were also analyzed and compared. In this way, it was possible to investigate the existing relationships between the different credit channels, and to determine that they were actually not in competition with one another; rather, it was discovered that they were, in fact, discretely positioned in a distinctly segmented market. This research is relevant to both specialists in Venetian history, and researchers concerned with economic history in other contexts; this study also proposes a new methodology, and a case study, useful for relative comparison by either constituency
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Bottini, Giorgio. "Costumi e consuetudine in Machiavelli." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN077/document.
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Ce travail de thèse a pour ambition d’étudier le statut et la fonction des termes et concepts issus de la tradition juridique antique ainsi que médiévale dans la pensée politique de Machiavel. L’angle d’analyse adopté est celui du « ius non scriptum » et permet de mesurer l’influence des notions latines de « mores » et de « consuetudo » élaborées par le droit romain et le droit canon sur les formes vulgaires de « costumi » et de « consuetudine » que Machiavel mobilise dans l’ensemble de ses écrits. Plus largement, la recherche esquisse une généalogie du lexique politique de la Renaissance italienne à partir de ses antécédents latins pour mieux comprendre la logique de formation des langages politiques modernes. Le travail de recherche consiste à réinterroger la modernité de Machiavel en procédant à une contextualisation historique de sa pensée dans la longue tradition médiévale qui s’achève avec lui. Il s’agissait d’abord de repérer les principales occurrences du terme « costumi » dans les textes de Machiavel afin de mettre en lumière l’importance de cette catégorie non seulement conceptuelle mais aussi pratique dans le système de sa pensée. En s’éloignant momentanément du corpus machiavélien, j’ai cherché à présenter une histoire de la doctrine du « ius non scriptum » à partir des deux sources du droit médiéval que sont le Corpus Iuris Civilis (VIème siècle) et le Decretum Gratiani (XIIème siècle). Au terme de cette enquête, il a fallu revenir au corpus machiavélien pour montrer que la notion de « consuetudine » est l’une des plus importantes de son lexique politique parce qu’elle qualifie la nature des peuples dans leur rapport aux ordres et aux lois et constitue le fondement même de la vie des RépubliquesThis work aims at analysing the way Machiavel used words and concepts from the legal tradition of Antiquity and Middle Age in his political thought. Preference was given to the “ius non scriptum” in order to measure the direct influence of Latin categories such as “mores” and “consuetudo” elaborated by the Roman Law and the Canon Law and reemployed by Machiavel in a (much)more common form in all his writings. More broadly, it consists in a genealogy of the political vocabulary of the Italian Renaissance which is born in the Latin language borrowed from its Latin roots to highlight the logic of formation of modern political languages. In our research, we try to reconsider the modernity of Machiavel by contextualizing his thought in the medieval tradition which ends with Machiavel himself. First of all, we had to identify the main uses of the word “costumi” in Machiavel’s writings in order to emphasise its theoretical and major practical meaning in his thinking. By taking a short step back from the Machiavellian corpus, we tried to rebuild a history of the “ius non scriptum” doctrine from two medieval sources: The Corpus Iuris Civilis (VI century) and the Decretum Gratiani (XII century). At this point, we had to go back to the Machiavellian corpus to show the importance of the notion of “consuetudine” in his political vocabulary. It qualifies the people’s identity, the relation to orders, and more than everything it is the basis for the existence of Republics
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Platevoet, Marion. "Médée en échos dans les arts : La réception d’une figure antique, entre tragique et merveilleux, en France et en Italie (1430-1715)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040166.
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Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam »The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”
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Lejosne, Fiona. "Giovanni Battista Ramusio et la constitution d'un savoir géographique à Venise au XVIè siècle : parcours scientifique et horizon politique." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN035/document.
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La compilation des Navigationi et viaggi, publiée à Venise en trois volumes entre 1550 et 1559, est le point d'aboutissement d'un travail de collecte et d'édition de textes géographiques effectué par le géographe humaniste Giovanni Battista Ramusio (1485-1557) au cours de la première moitié du XVIe siècle. Le compilateur entend mettre à jour la description du monde tout en proposant un nouveau modèle de constitution du savoir, dont le point de départ est l'expérience de ceux qui ont pris part aux voyages exploratoires passés et en cours. Ramusio, qui fit toute sa carrière comme secrétaire de chancellerie auprès de la République de Venise, prit appui sur un dense réseau de collaborateurs qui lui fournirent témoignages et récits de voyages. Ce travail de recherche offre pour la première fois une analyse conjointe de la figure de Ramusio comme géographe de cabinet et comme secrétaire de chancellerie, tout en inscrivant son activité dans le contexte de la Venise du début de l'âge moderne.La première partie de la thèse propose une reconstitution, fondée sur un travail d'archives, du laboratoire de Ramusio : les institutions de la République de Venise, le milieu savant italien et le monde de l'édition vénitien. Par l'étude de son statut et de sa démarche, l'interrelation entre ses intérêts propres et ses prérogatives professionnelles est mise en évidence. La deuxième partie porte sur la compilation, elle aborde à la fois les modèles suivis, les choix inédits de mise en forme et les processus de sélection des sources. Les intentions et le projet de Ramusio sont étudiés sur la base de ses propres écrits – les discorsi des Navigationi et viaggi – dans la troisième partie, où l'analyse porte sur la compilation comme ouvrage de géographie politiqueThe three-volume compilation, Navigationi et viaggi, published in Venice from 1550 to 1559, is the work of the humanist geographer Giovanni Battista Ramusio (1485-1557), who collected and edited geographical texts throughout the first half of the 16th century. The compiler attempted to update the description of the known world by employing new modes of knowledge, primarily based on the experiences of those who had taken part in exploratory travels. Ramusio, who served the Republic of Venice as a secretary at the chancellery, benefited from a broad network of collaborators who provided him with testimonies and travel accounts. My research offers the first joint analysis of Ramusio, the armchair geographer and secretary, within the context of early-modern Venice.Based on archival research, the first part of this work offers a reconstruction of Ramusio’s laboratory as part of the institutions of the Republic of Venice, the scholarly environment of Italy, and the world of Venetian publishing. The interrelation between his own interests and his professional prerogatives is established through a study of his scholarly approach and official role. The second part of this study focuses on the compilation, taking into account Ramusio’s influences, as well as his original choices for the organisation and selection of knowledge and sources. The objectives of this work of political geography are examined in the third part through an analysis of Ramusio’s own writings, the Navigationi et viaggi’s discorsi
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Biscay, Myriam. "Pouvoir et enseignement du droit en France et dans l'Italie du nord du XVIIe siècle à la fin du Ier Empire." Thesis, Lyon 3, 2013. http://www.theses.fr/2013LYO30059.
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Dès la genèse des universités, à la fin du XIIe siècle, leur autonomie implique un certain rapport au pouvoir puisqu’elles n’existent que si elles sont reconnues et garanties par des autorités extérieures. Les facultés de droit, composantes des universités, sont particulièrement liées au pouvoir politique en raison des rapports étroits unissant le politique et le droit. À partir du XVIIe siècle, en France, le pouvoir royal s’ingère véritablement dans le domaine des facultés de droit. Ce processus d’immixtion du pouvoir politique sur les facultés de droit s’étend jusqu’au point culminant de la réforme napoléonienne instaurant l’Université impériale. Il s’agit d’une phase de transformation des facultés de droit, alliée à la mutation de l’État lui même, située entre les facultés de droit médiévales, détentrices d’une certaine autonomie, jusqu’aux institutions étatisées dont les finalités sont définies par le pouvoir politique. Les facultés de droit d’Italie du nord, pour le moins en Piémont et en Lombardie autrichienne, connaissent la même évolution au travers des réformes du XVIIIe siècle menées respectivement par Victor-Amédée II et Marie-Thérèse d’Autriche. L’influence politique, soulignant les finalités assignées aux facultés de droit, se traduit par un contrôle de la structure mais également par une immixtion dans le contenu même des enseignements. Ainsi, le type de juriste voulu par le pouvoir politique se dessine au travers des différentes réformes adoptéesFrom the genesis of the universities in the late twelfth century, autonomy implies a certain relationship to power as they only exist if they are recognized and guaranteed by external autorithies. The Faculties of Laws, universities components, are particularly related to political power because of the close relationship liking the political and law. In France, from the seventeenth century, the royal power truly interferes in the field of law schools. This process of political interference power over law schools extends to the height of the Napoleonic reform establishing the Imperial University. It is a phase transformation of law schools, combined with the transformation of the state itself, between the faculties of medieval law, holders of a degree of autonomy, to the state-owned institutions, whose purpose is defined by the political power. The faculties of law in northern Italy, at least in Piemont and Lombardy Austrian, experience the same evolution through reforms of the eighteenth century led respectively by Victor Amadeus II and Maria Theresa of Austria. The political influence, highlighting the objectives assigned to the faculties of law, resulting in a control structure but also by interference in the same educational content. Thus, the type of lawyer wanted by the political power emerges through various reforms
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Merseburger, Maria. "Gemalte Gewandung im Florentiner Quattrocento." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/18687.
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Die vorliegende Arbeit stellt für die Bildwissenschaften eine methodische Grundlage dar, Kleidung im Bild als Konstruktion zu begreifen und zu interpretieren. Anhand der eindrucksvollen Patronageprojekte der Familie Tornabuoni – einer gerade emporgestiegenen Kaufmannsfamilie im Umkreis der Medici – werden die Möglichkeiten und Grenzen von symbolischer Kommunikation in der Florentiner Frühneuzeit untersucht. Unter anderem über Symbole wurde die Position im Gesellschaftsgefüge des unsicheren frühneuzeitlichen Regierungsklimas immer wieder neu hergestellt und von Neuem ausgehandelt. Die gewählte Bildgarderobe ist dafür ein hervorstechendes Beispiel.The thesis presents an art historical methodology that assesses clothing and its pictorial representations in order to interpret how material culture relates to social construction. Using as an example an impressive patronage project of the Tornabuoni family – a newly rich family of merchants in the circle of the Medici – reveals the possibilities as well as the limitations of symbolic communication through dress in early modern Florence. In addition to outward style, these subtle symbols helped to establish and renegotiate their bearer’s position in the shifting hierarchy of an uncertain political climate. By closely examining Tornabuoni commissions, the thesis demonstrates how clothing is a critical means of understanding social motivations and aspirations.
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Rossi, Nassim Ellie. "Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Italian Portraiture." Thesis, 2013. https://doi.org/10.7916/D8KS6ZSD.
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This project was inspired in a fundamental way by an interest in the function of Italian Renaissance portraiture. The essential question is concerned with the expanded functional range of portraiture within the context of early modern cross-cultural engagement between traditional foes. The dissertation casts a spotlight on the relationship between Italy and Ottoman Turkey, the most powerful and prominent of its contemporary Near Eastern counterparts. The first chapter explores the influence of the diplomatic culture particular to Venice on the artistic output -- including drawings, a painted portrait and a portrait medal -- resulting from the late fifteenth-century journey of the city's famous son Gentile Bellini to the Istanbul court of the Ottoman sultan Mehmed II (Mehmed the Conqueror). The representations of the Turkish ruler are discussed as objectively motivated, fact-focused diplomatic "documents" in the spirit of the singularly Venetian tradition of the relazione produced by diplomats of the city upon the completion of diplomatic missions. The second chapter explores the renowned portrait collection of the early sixteenth-century Comasque scholar Paolo Giovio. As part of his assiduously cultivated collection of images of "famous" men and women, Giovio unconventionally possessed portraits of both deceased and contemporary Near Eastern figures. Among these were eleven images of Ottoman sultans. Although the influence of traditional motivations for collecting portraits is in evidence, the collection as a whole can also be fruitfully explored as a reflection of the scholar's lifelong interest in history and its chronicling. The unconventional inclusion of Near Eastern and other foreign figures suggests his preoccupation with global interconnection. His carefully crafted textual treatment of the figures -- he eventually composed brief eulogies to hang beneath each of the portraits -- suggests the precariousness of attempting to handle neutrally the Near Eastern "other." The images in conjunction with the text operate as an innovatively bold and frank commentary on contemporary history. A century separates Gentile's execution of Mehmed II's portrait and a series of portraits of the house of Osman produced by the workshop of another Venetian master, Paolo Veronese, through the indirect commission of the sultan Murad III (1574-1595) and his grand vizier Sokollu Mehmed Pasha. The inspiration for the third chapter, these fourteen portraits, produced, significantly, in the wake of the momentous Battle of Lepanto, are singular within the tradition of sultan portraiture for the degree to which the figures have been animated and humanized. Even allowing for the shift in stylistic trends from the end of the fifteenth to the end of the sixteenth century, I suggest that the psychological impact of the Battle of Lepanto and a specifically Venetian brand of civic self-consciousness played a heightened role in the formal solution adopted for the commission. "Veronese's" approach to the depiction of the Ottoman sultans shifted attention away from symbolic markers of difference, such as clothing, and focused attention instead on the corporeal reality and the psychological presence of the sultans, aspects highlighting the European potential of the figures and attesting to the reality of subtle rather than rigid boundaries in the definition of Europeans as categorically different from the Ottoman Turks -- a subtle act of assimilation in a crucial moment in the history between Europe and Ottoman Turkey that ultimately exhibits once again the functional flexibility of portraiture. Considered in relation to each other, the three case studies demonstrate the subtle functional flexibility of portraiture within a context bridging diverse cultures. These various acts of representation demonstrate the culture of early modern European cooperativity through their common effort to understand a foreign culture by means of visual accommodation.
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Ray, Meredith Kennedy. ""A gloria del sesso feminile" : epistolary constructions of gender in early modern Italian letter collections /." 2001. http://wwwlib.umi.com/dissertations/fullcit/3039051.
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Nonaka, Natsumi. "The illusionistic pergola in Italian Renaissance architecture : painting and garden culture in early modern Rome, 1500-1620." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5293.
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The present dissertation is intended to be the first systematic investigation of the
illusionistic pergola considered within the framework of the intellectual culture and the
garden culture of early modern Rome. The subject is the fresco or mosaic decoration
featuring a pergola – a depicted trelliswork covered with plants and peopled with birds –
in the loggias, porticoes, and garden pavilions of villas and palaces in Rome and its environs. These pictorial fictions have survived in sufficient numbers to constitute a decorative trend, and moreover, appear in clusters at specific periods, which can be partly explained by means of the cultural factors predominant at the time. The dissertation discusses these pergolas in relation to antiquarian culture, the collecting of plants and birds, the study of natural history, garden furnishings and the art of treillage, thereby contextualizing them within the culture of early modern Rome.
The dissertation assembles the first corpus of illusionistic pergolas in the period
1500-1620, updating a much earlier general corpus of 1967 by Börsch-Supan, and
distinguishes three distinct periods of the proliferation of these pictorial fictions in Rome and its environs: the first period (1517-1520), the second period (1550-1580), and the third period (1600-1620). Important cultural issues relevant to each period are identified,and proposed as the frameworks for study. These include the reference to the antique and to the vernacular, mediation between indoors and outdoors, the tension between art and craft and the ambiguity of the pseudo-architectural, semantic and aesthetic cross reference between architecture and garden, and the reflection of the intellectual culture.
On examination, the illusionistic pergolas are revealed to be a nexus of interrelationships between built structure, ornamented surface, garden and landscape, as
well as multivalent embodiments of emerging ideas and sensibilities concerning the
experience of architectural space and nature. By taking into account the middle ground of architecture and garden, the study explores the multivalence of ephemeral garden
furnishings and their fictive counterparts, opening up a new perspective on the sites
examined, and attempts to see a resonance of the tradition in modern times.text
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Stankiewicz, Aleksander. "Krzysztof Bonadura Starszy : architekt XVII wieku." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/148719.
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Tammen, Hanke E. "Michiel Coxcie." Doctoral thesis, 2020. http://hdl.handle.net/21.11130/00-1735-0000-0005-1399-9.
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