Dissertations / Theses on the topic 'Minoan art'
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Pearce, Ariel Leah. "Fresh Water Scenes in Minoan Art." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/451958.
Full textPh.D.
The goal of this dissertation is to provide a comprehensive study of scenes of fresh water in Minoan art from the Middle Minoan II (MM II) through the Late Minoan I (LM I) periods. This dissertation addresses and fills the gap in the scholarship regarding the depiction of riparian environments and the special place of these depictions in Aegean art. It also attempts to clarify the use and function of riverscapes across chronological periods. Rivers, marshes, streams, and springs, appear on a variety of media and fulfil multiple functions from MM II onward. Images of fresh water were used as topographical markers, ornamentation and decoration, and for religious purposes. Moreover, several images suggest that the Minoans may have believed that the realm for the goddess (or one of the goddesses) was a lush, riverscape. A second goal of this dissertation is to clarify and dispose of the term “Nilotic” as a label for images of fresh water in the Aegean. Since its introduction into the literature of Aegean studies in the beginning of the 20th century, the term “Nilotic” has been used inconsistently to describe Aegean scenes of fresh water that may or may not contain Egyptian elements. This assumption has led some scholars to state that Aegean riverscapes are ultimately derived from Egyptian scenes of fishing and fowling because they share similar iconographic elements. Unfortunately, the process of synthesis is important to the understanding of Aegean riverscapes, and iconographic similarities are somewhat superficial. Furthermore, the term has been used without regard for a long-standing tradition of the depiction of riparian environments in Bronze Age Aegean art. To fully address both goals of this project, the origin of individual iconographic elements has been traced through various media, including glyptic art, pottery, and wall painting. Wall paintings from the Cyclades and some Late Helladic IA scenes have been included when appropriate. Whenever possible, categories of riverscapes have been grouped together, but each wall painting, has been examined and interpreted individually. Some unique, highly pictorial, and detailed images in other media have also been addressed separately. Parallels in Egyptian and, in some cases, Near Eastern art have been sought to determine the validity of the term “Nilotic,” and a special study of Egyptian scenes of hunting in the marshes has been conducted in comparison to Aegean scenes. Iconography, synthesis, and context have all been taken into consideration.
Temple University--Theses
Pareja, Marie Nicole. "Monkey and Ape Iconography in Minoan Art." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/361253.
Full textPh.D.
This dissertation examines monkey and ape iconography in Minoan art during the Aegean Bronze Age (ca. 3,000–1,100 B.C.). Although a broad range of animals exist for depiction, Minoan artists carefully selected each subject in order to fulfill specific roles. Monkeys and apes appear to function differently than the other creatures that are depicted in art. Rather than subscribing to the general roles played by other animals, these primates may be shown outdoors, behaving like wild animals, or in a ceremonial context, participating in a ritual. Monkeys also imitate human activities. The deviation of primates from the typical roles of other animals found in Minoan art invites a deeper investigation of the role and iconography of apes and monkeys. In this study, three types of media that bear depictions of primates are considered. These media include figurines, glyptic art, and wall paintings. First, a review of the stylistic features of Minoan art and the possibility for the use of pattern books is discussed. Next, monkey and ape iconography in Egyptian art is explored. A thorough review of the creatures’ iconography in Minoan art follows, which includes the identification of figures as either ape or monkey, as well as a detailed description and conclusions about each type of representation. A new possible reconstruction of the Saffron Gatherer fresco is also included. Finally, the possible origins of Minoan primate iconography are considered, as well as the possible implications of the creature’s history, development, and roles. With this information in mind, the Offering to the Seated Goddess scene is then examined. The possible reconstruction of a crocus ceremony is proposed and explained, and the Levantine parallels for the compositional arrangement of the scene are also addressed. These conclusions may directly inform greater themes in Minoan culture, such as religion and cult practices.
Temple University--Theses
Loughlin, Eleanor. "Representations of the cow and calf in Minoan art." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/9790.
Full textHsu, Sheng-Chieh. "Bronze-Age Crete and Art Nouveau: A Diachronic Dialog." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/450833.
Full textPh.D.
This dissertation examines the relationship between Minoan art and Art Nouveau. The Minoan civilization was rediscovered at the turn of the twentieth century when the Art Nouveau movement reached its peak. Due to this coincidental timing, their artistic resemblance has raised questions about whether Minoan art had inspired Art Nouveau and whether Art Nouveau played a role in the restoration of Minoan art. The possibility of a Minoan influence on Art Nouveau is considered through a number of aspects, which include news reports on the excavations, Minoan collections acquired by museums, reference to the Minoans in various fields, application of Minoan motifs, and the attractiveness of the Minoans to Art Nouveau artists. As for the reversed influence, the research analyzes how archaeologists came to see the Minoans as a “modern” civilization, investigates the background of the restorers of Minoan objects, and provides examples of fresco restorations that illustrate an Art Nouveau preference of the early archaeologists and restorers. With the evidence and the discussion, I argue that the existing connection between Minoan art and Art Nouveau is beyond doubt.
Temple University--Theses
Pareja, Marie Nicole. "Minoan Tripod Cooking Pots: Morphological Change and Function." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/214822.
Full textM.A.
Tripods constituted a specific group of pottery within the Bronze Age Aegean tradition. The shape was typically associated with ritual and cooking activities. This study presents an examination of Minoan tripod cooking pots from Crete. By tracing the morphological changes that occur from one period to the next, this research seeks to discuss the relationship between the form and function of these vessels. It is hoped that the following analysis may also shed light on the origin and practicality of tripod cooking pots.
Temple University--Theses
Gluckman, Amie. "Minoan Barbotine Ware: Styles, Shapes, and A Characterization of the Clay Fabric." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/337064.
Full textM.A.
This paper examines the styles, shapes, and chemical composition, and ceramic fabric of Minoan Barbotine Ware. During the Middle Minoan period, Barbotine Ware exemplifies the creative ingenuity of the Minoan potter. The vessels’ elaborate decorative motifs play an integral part in the development of Minoan pottery. Barbotine Ware remains an ill-defined tradition. This paper will analyze the styles and shapes of Barbotine Ware vessels, as well as provide a chemical and petrographic study of Barbotine Ware from Kommos. The ultimate goal is to provide a thorough study of all aspects of the Ware in the hopes that future scholars may better understand its place within Minoan pottery and appreciate how it exemplifies the spirit of experimentation during the Middle Bronze Age on Crete.
Temple University--Theses
McCreery, Allyson Marie. "Evidence for Warfare on Crete during the Early and Middle Bronze Age." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/100690.
Full textM.A.
This thesis analyzes the role of warfare on Crete during the Early and Middle Minoan periods (EM and MM). Defensive architecture and weaponry production, utilization and representation are used as evidence for warfare during these periods. Furthermore, this thesis builds upon the scholarship of Minoan warfare in order to define the limitations of the defensive capabilities of Minoan Crete. The EM and MM periods on Crete show a slow advancement towards more sophisticated warfare practices. This is demonstrated by the intensification of defensive architectural programs and advanced weaponry technology of the early MM period. At the same time, population increase and social complexity may have caused extensive tension within communities, perhaps causing an increase in small-scale warfare or violence. Additionally, trade with settlements in the Aegean and the Levant may have inspired and initialized new practices in defensive mechanisms. Thus, the archaeological record of EM and MM Crete provides enough evidence to suggest warfare not only existed, but continually advanced in strategy and tactics.
Temple University--Theses
d'Esterre, Elaine, and mikewood@deakin edu au. "Feminist poetics: Symbolism in an emblematic journey reflecting self and vision." Deakin University. School of Literary and Communication Studies, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.123532.
Full textSarasin, Sydney. "The Seals from the Minoan Site of Chryssi Island: Local, Regional, and Global Implications." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/418631.
Full textM.A.
Five seals come from a Minoan site on the island of Chryssi, just off the southeastern coast of Crete. Four of these seals are sealstones, and one is the bezel of a metal seal ring. These seals are important as individual objects to allow for a deeper understanding of the people that inhabited Chryssi Island during the Bronze Age, but a further understanding of the site itself is also garnered by expanding the focus to include all of the seals of Crete. By doing so, this study allows for the discussion of regional interactions among the people of Chryssi and various other Minoan sites throughout Crete. The various approaches to seals come together to suggest the same conclusions, most notably that at least some of the people on Chryssi enjoyed a life of limited luxury through the control of various industries on the island, particularly the production of murex purple dye.
Temple University--Theses
Balduini, Émilie. "Les plantes dans le monde minoen : espèces, préparation, utilisations." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAG016.
Full textToday, Crete offers a rich and partially unique flora. The aim of this thesis is to study plants in the Minoan world (Crete and Akrotiri, Thera), by identifying the species thanks to diverse media, by analyzing the methods of preparation and uses which Minoans could make of these plants. The first part of our work is an iconographic catalog which lists plants in art, writings and scientific analyses. Previous studies focus on the identification of floral patterns or a specific plant, and relationships between men and plants are not or not much analyzed. The special feature of our approach is to be completed by a contextual analysis which allows to compensate for this gap. The second part of our researches concerns the preparation of plants, that is to say the attention which they required before being used in everyday life. The possible fields being numerous, our study focuses on the use of plants in religion and in textile industry
Morrison, Jerolyn Elizabeth. "The art and archaeology of cooking : a comparative study of late Minoan cook-pots from Mochlos and Papadiokambos." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/36611.
Full textDecorte, Roeland Pieter-Jan Ewoud. "The origins of writing, and its relation to art on Bronze Age Crete." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/274634.
Full textGillis, Carole. "Minoan conical cups : form, function and significance /." Göteborg : P. Aströms, 1990. http://catalogue.bnf.fr/ark:/12148/cb388953629.
Full textBlanas, Aristippos. "Geometrische Keramik aus Minoa auf Amorgos /." Münster : Scriptorium, 2006. http://catalogue.bnf.fr/ark:/12148/cb41304236n.
Full textFantuzzi, Tiziano <1984>. "A reassessment of the debate on Late Minoan 1 and interlinked chronologies through radiocarbon and comparative analysis." Doctoral thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/14986.
Full textPrent, Mieke. "Cretan sanctuaries and cults : continuity and change from Late Minoan IIIC to the Archaic period /." Leiden : Brill, 2005. http://catalogue.bnf.fr/ark:/12148/cb400092842.
Full textFantuzzi, Tiziano <1984>. ""A Matter of Times": Tell el Dab'a and the Interlinked Chronologies of Minoan Crete and Egypt in the Bronze Age." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3502.
Full textWohlfeil, Jutta Beate. "Die Bildersprache minoischer und mykenischer Siegel /." Oxford : Archaeopress, 1997. http://catalogue.bnf.fr/ark:/12148/cb37069206c.
Full textPapatsarouha, Elisabeth. "La conception minoenne du monde végétal à travers l'iconographie des sceaux." Paris 1, 1998. http://www.theses.fr/1998PA010617.
Full textThe aim of this work is to piece together the way in which the minoans perceived the flora. The glyptic data - a few thousand of cretan protohistorical seals - forms the basis of the study. The text is divided into four parts. The first part is an attempt to reconstitute the cretan landscape as it was in the bronze age. This reconstitution is based upon the result of scientific work carried out by experts in different disciplines (palynologists, archeobotanists, botanists, etc. ). The second part presents the typology of the motifs of the plants presented on the compositions decorating the seals. These motifs are divided into five main categories: leaves, multiple leaves, branches, trees and flowers or seeds. The following elements are given for each motif: typology (types, subtypes and variations), history (origin of the motif and its evolution troughout the minoan art), datation and identification of the plant species represented. The third part deals with the typology of the compositions which include plants. This part makes it possible to define the types of the scenes represented, their history and popularity, and the place of the motifs in relation with the other constituent elements of the composition. Finally, the last part deals with the signification of the representation of the vegetation and especially the problems related to the artistic choice, the religion and the symbolism of the minoan culture: which landscape and plants do the minoans prefer and why ? What do we know about the tree-cult but also about the acts and beliefs the referential axis of which is plants ?
Corpuz, Ernesto Soliman G. "Petrology and geochemistry of the central Mindano volanic arc, southern Philippines." Thesis, University of Canterbury. Geology, 1992. http://hdl.handle.net/10092/5789.
Full textLurz, Norbert. "Der Einfluß Ägyptens, Vorderasiens und Kretas auf die Mykenischen Fresken : Studien zum Ursprung der Frühgriechischen Wandmalerei /." Frankfurt am Main : P. Lang, 1994. http://catalogue.bnf.fr/ark:/12148/cb39216809x.
Full textHudier, Eric. "Dynamique sédimentaire dans le déferlement longue pointe de Mingan-Golfe du Saint-Laurent /." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37605986m.
Full textSchulte, Monika M. "Macht auf Zeit : Ratsherrschaft im mittelalterlichen Minden /." Warendorf : Fahlbusch, 1997. http://catalogue.bnf.fr/ark:/12148/cb37220585p.
Full textBibliogr. p. 479-506. Index.
Vaičiulytė, Jovita. "Tekstilės kompozicijos „Vieniši minioje“." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140227_143843-52300.
Full textSolitude, loneliness root probably should be associated not only with homosapiens start, but in a sense, and the origin of life in general. Loneliness - is the emotional state of the individual, and thus the socium phenomenon, which could be described as fairly often these days element. And loneliness - with a shade more physiological phenomenon, this is the position (situation), where one object (in this case the human) is separated from the others of the same object (it is, other people). Loneliness can be "dictated" circumstances, it is enforced as well as it can be custom when it is conscious decision the individual (eg "self-seeking", thoughts "crystallization", inspiration and generation of creative potential). The concept of loneliness can have several versions of interpretation: individual (person) can feel lonely in relation to the surrounding people (friends and like-minded absence, self ignoring his worldview and the like.); lonely man can be also assessing his existence in the world scale (dissociation, meaning absence, etc.); loneliness may be dictated by certain situations (bereavement, separation from loved ones). This work examines the scientific, theoretical information about the physical and psychological state - an independent spiritual condition, single mental and social existence which is widely examined by scientists and psychologists. The first chapter deals with the theoretical part of loneliness concepts related to the phenomenon of loneliness. More... [to full text]
Arribas, Navarro Luis Diego. "Arte, industria y medio rural: la implicación del arte en los procesos de transformación del territorio. La experiencia de las minas de Ojos Negros (Teruel)." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/61308.
Full text[ES] La presente tesis doctoral recoge un proceso de intervención a través del arte en un contexto natural alterado por la acción antrópica: las minas de hierro a cielo abierto de Ojos Negros (Teruel). La hipótesis de la investigación es la capacidad del arte para impulsar, orientar e intervenir en procesos de transformación del territorio y, de forma específica, la constatación de esa capacidad a través de los resultados obtenidos en este entorno minero. Partiendo de un primer acercamiento desde el ámbito artístico en el que desarrollé una serie de obras y exposiciones en torno al escenario minero, y tras el contacto con los vecinos de la localidad, fui desplazando mi actividad creativa hacia la intervención en el territorio, integrando al resto de los actores implicados: vecinos y autoridades, en la búsqueda de alternativas al cese de la actividad extractora. El artista se convierte así en un agente dinamizador, un mediador que propone e impulsa estrategias de colaboración con el colectivo minero, generando un cambio en la percepción sobre el espacio de intervención orientado hacia el ámbito del arte y la cultura. A través de la organización de tres encuentros celebrados en las minas de Ojos Negros entre los años 2000 y 2007, la acción artística sirvió para aglutinar a artistas, mineros, autoridades y especialistas pertenecientes al ámbito del arte, la arquitectura, la arqueología industrial, la sociología, la minería y el desarrollo local, contrastando opiniones y propuestas para la construcción de un nuevo escenario en el que converja el pasado industrial con una nueva identidad cultural. Para alcanzar este objetivo se han seguido métodos de investigación empírica, desplegando un proceso de investigación fundamentado en la experiencia. Dada su aplicación en el espacio mismo de intervención, podemos hablar de un experimento de campo, al analizar el proceso y la repercusión que tiene en los actores en su ambiente natural. A su vez, el investigador es el agente que provoca las condiciones para el comienzo y desarrollo de los cambios, tanto en el ámbito espacial como en el de la comunidad implicada. A lo largo del proceso se han aplicado instrumentos de observación que ha permitido hacer un seguimiento directo de su evolución. Ha sido una observación participativa, en la que, además de observador, el investigador ha formado también parte del objeto observado. Los referentes que acompañan a esta investigación ayudan a contextualizar el marco de actuación. Por un lado se abordan conceptos básicos sobre patrimonio y arqueología industrial, con algunos ejemplos nacionales e internacionales de actuación en explotaciones mineras y siderúrgicas en desuso. Por otro lado, se traza un recorrido por la presencia de la actividad industrial en las distintas disciplinas artísticas, como la pintura, la escultura, la fotografía, el cine o la literatura y, por último, se abordan algunos ejemplos de actuación en contextos industriales y sociales que atraviesan por situaciones de conflicto o están inmersos en procesos de cambio. Como resultados prácticos destacamos la decisión del Gobierno de Aragón de declarar las minas de Ojos Negros como Parque Cultural, la máxima figura de protección patrimonial de la comunidad aragonesa. También la implicación de los vecinos y las autoridades locales en las actividades desarrolladas, reafirmando su identidad minera y su interés por abordar el cambio de funciones de su entorno natural e industrial después del cese de la actividad. En el aspecto teórico ha sido importante la publicación de las actas de los encuentros desarrollados, dando a conocer las intervenciones de los artistas y la opinión de los especialistas participantes, dejando el testimonio de una experiencia que ha servido para impulsar el cambio de función y la dinamización social del entorno.
[CAT] Art, indústria i medi rural: La implicació de l'art en els processos de transformació del territori. L'experiència de les mines d'Ojos Negros (Teruel) La present tesi doctoral recull un procés d'intervenció a través de l'art en un context natural alterat per l'acció antròpica: les mines de ferro a cel obert d'Ulls Negres (Terol). La hipòtesi de la investigació és la capacitat de l'art per impulsar, orientar i intervenir en processos de transformació del territori i, de forma específica, la constatació d'aquesta capacitat a través dels resultats obtinguts en aquest entorn miner. Partint d'un primer acostament des de l'àmbit artístic en el que vaig desenvolupar una sèrie d'obres i exposicions entorn de l'escenari miner, i després del contacte amb els veïns de la localitat, vaig anar desplaçant la meva activitat creativa cap a la intervenció en el territori, integrant al resta dels actors implicats: veïns i autoritats, en la recerca d'alternatives al cessament de l'activitat extractora. L'artista es converteix així en un agent dinamitzador, un mediador que proposa i impulsa estratègies de col·laboració amb el col·lectiu miner, generant un canvi en la percepció sobre l'espai d'intervenció orientat cap a l'àmbit de l'art i la cultura. A través de l'organització de tres trobades celebrades en les mines d'Ojos Negros entre els anys 2000 i 2007, l'acció artística va servir per aglutinar artistes, miners, autoritats i especialistes pertanyents a l'àmbit de l'art, l'arquitectura, l'arqueologia industrial, la sociologia, la mineria i el desenvolupament local, contrastant opinions i propostes per a la construcció d'un nou escenari en el qual convergeixi el passat industrial amb una nova identitat cultural. Per assolir aquest objectiu s'han seguit mètodes d'investigació empírica, desplegant un procés d'investigació fonamentat en l'experiència. Donada la seva aplicació en l'espai mateix d'intervenció, podem parlar d'un experiment de camp, en analitzar el procés i la repercussió que té en els actors en el seu ambient natural. Al seu torn, l'investigador és l'agent que provoca les condicions per al començament i desenvolupament dels canvis, tant en l'àmbit espacial com en el de la comunitat implicada. Al llarg del procés s'han aplicat instruments d'observació que ha permès fer un seguiment directe de la seva evolució. Ha estat una observació participativa, en què, a més d'observador, l'investigador ha format també part de l'objecte observat. Els referents que acompanyen aquesta investigació ajuden a contextualitzar el marc d'actuació. D'una banda s'aborden conceptes bàsics sobre patrimoni i arqueologia industrial, amb alguns exemples nacionals i internacionals d'actuació en explotacions mineres i siderúrgiques en desús. D'altra banda, es traça un recorregut per la presència de l'activitat industrial a les diferents disciplines artístiques, com la pintura, l'escultura, la fotografia, el cinema o la literatura i, finalment, s'aborden alguns exemples d'actuació en contextos industrials i socials que travessen per situacions de conflicte o estan immersos en processos de canvi. Com a resultats pràctics destaquem la decisió del Govern d'Aragó de declarar les mines d'Ojos Negros com a Parc Cultural, la màxima figura de protecció patrimonial de la comunitat aragonesa. També la implicació dels veïns i les autoritats locals en les activitats desenvolupades, reafirmant la seva identitat minera i el seu interès per abordar el canvi de funcions del seu entorn natural i industrial després del cessament de l'activitat. En l'aspecte teòric ha estat important la publicació de les actes de les trobades desenvolupats, donant a conèixer les intervencions dels artistes i l'opinió dels especialistes participants, deixant el testimoni d'una experiència que ha servit per impulsar el canvi de funció i la dinamització social de l'entorn. Paraules clau: Arte público; Land-art; arq
Arribas Navarro, LD. (2016). Arte, industria y medio rural: la implicación del arte en los procesos de transformación del territorio. La experiencia de las minas de Ojos Negros (Teruel) [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61308
TESIS
Premiado
Krosta, Frank. "Die Geschichte der Stadtbibliothek Minden von 1906 bis 1945 : ein Beitrag zur Entwicklung der Literaturversorgung seit dem 18. Jahrhundert /." Marburg : Tectum, 1998. http://catalogue.bnf.fr/ark:/12148/cb37321742c.
Full textSalvio, Vanessa Linke. "Os conjuntos gráficos pré-históricos do centro e norte mineiros: estilos e territórios em uma análise macro-regional." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-24092014-142602/.
Full textIn a forty years period of archeological researches in the Center and in the North of Minas Gerais, in which rock art was contemplated, a scenario of an almost uninterrupted researched areas was created. In these areas, the parietal graphics traces were organized in sets, using the great classificatory unities, usual in archaeology, communicating with the notions of style and tradition. This research compared the graphical sets of some regions of the north and center of Minas Gerais, making use of typological analyses and thematic associations, aiming to discuss the filiations of the sets in wide classificatory categories and the design of some possible territories. In order to achieve it, sets of primary and secondary data were utilized, the ones that are available in the dissertations, thesis, articles and collections of Museu de História Natural da Universidade Federal de Minas Gerais and in dialogs between concept and style, and others associated to the methodological reflection, sighting an approach between the anthropological and archaeological bibliographic production.
Orlandi, Laetitia Annette. "Basic piano instruction for vocal art students at the Tshwane University of Technology in Pretoria, South Africa." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/23885.
Full textDissertation (Music)--University of Pretoria, 2010.
Music
unrestricted
Andreadáki-Vlazáki, María. "La ville de Canée (Kydônia) aux époques minoenne et géométrique." Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20007.
Full textSbonias, Kostas. "Frühkretische Siegel : Ansätze für eine Interpretation der sozial-politischen Entwicklung auf Kreta während der Frühbronzezeit /." [Oxford] : BAR, 1995. http://catalogue.bnf.fr/ark:/12148/cb37066028d.
Full textBowen, Monica Jayne. "A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1346.
Full textCARDINALE, NOEMI MARIA. "La sottrazione internazionale di minori: limiti degli strumenti normativi di contrasto." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2022. http://hdl.handle.net/10281/366111.
Full textInternational child abduction is a global and growing phenomenon that refers to the illegal removal (or retention) of children from their home to a foreign country, usually realized by a parent. In this context, “illegal” is normally taken to mean “in breach of custodial rights” and “home” is defined as the child's habitual residence, that is the family and social environment in which the life of the child has developed. A decisive role in this field is played by the Hague Convention on the Civil Aspects of International Child Abduction of the 25 October 1980. The Hague Convention aims to combat parental child abduction by providing a rapid procedure (request by the left-behind parent) for the return of the child to the country of his habitual residence, where the right Court will take a decision on his future. Actually, when the Hague Convention was negotiated there was an assumption: most abductors were non-primary carers, usually fathers, upset about the breakdown of their marriage and the loss of easy day to day contact with their children. The Convention is capable of working very well in such cases: sending the children back home as soon as possible would restore the status quo and protect their stability. However, the conventional paradigm soon turned out to be mistaken or changed (we don’t know because we do not have statistical information before 1980): actually, statistical information on the operation of the 1980 Hague Abduction Convention shows that 73% of parental child abductions (on a total of 2.270 cases in 2015) are committed by mothers. Alarmingly, many of them (70%) are fleeing from domestic violence
Löwe, Wanda. "Spätbronzezeitliche Bestattungen auf Kreta /." Oxford : Tempus reparatum, 1996. http://catalogue.bnf.fr/ark:/12148/cb36994806v.
Full textTINOCO, Nara Maria de Paula. "Um Magistrado no Antigo Regime: a trajet?ria de Francisco de Sousa Guerra Ara?jo Godinho (1790-1800)." Universidade Federal Rural do Rio de Janeiro, 2017. https://tede.ufrrj.br/jspui/handle/jspui/2153.
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CAPES
El presente trabajo detallar? y analizar? la vida de un magistrado, en el per?odo moderno, m?s detalladamente, durante la ?ltima d?cada del siglo XVIII: Franciso de Sousa Guerra Ara?jo Godinho, objeto de esta disertaci?n, oriundo de las elites mineras dentro del grupo que compuso los abogados y magistrados de la capitan?a de Minas Gerais. El obtuve nominaciones, en el campo jur?dico, y fuera nominado como oyente, in Sabar?, y m?s tarde, des embargador del Tribunal de las Relaciones del Rio de Janeiro y consejero del ministerio de la Fazenda, cuando de la llegada de la familia real. Levantamos todas las actividades comerciales, familiares y con los clientes desarrolladas por Francisco Godinho, sus contempor?neos y pares, o sea, los individuos que tuvieran conflictos o asuntos relevantes con nuestro objeto de pesquisa. Adem?s, nuestro an?lisis enfoca principalmente las formas de progresi?n y ascensi?n en la carrera jur?dica. A trav?s de estas cuestiones, hemos constituido un proceso comparativo entre la carrera, la nominaci?n, las relaciones con los clientes y la historia especializada en el tema, bajo los moldes del Imperio Portugu?s para su mayor conquista en el Setecientos, el Brasil. Por tanto, percibimos las influencias que las ligaciones de la sociedad y las ligaciones con los padres han desempe?ado en el cotidiano de los magistrados, haci?ndolos parte influente de una sociedad din?mica.
O presente trabalho detalhar? e analisar? a vida de um magistrado, no per?odo moderno, mais detalhadamente, durante a ?ltima d?cada do s?culo XVIII: Francisco de Sousa Guerra Ara?jo Godinho, objeto desta disserta??o, oriundo das elites mineiras dentro do grupo que comp?s os advogados e magistrados da capitania de Minas Gerais. Obteve nomea??es, no campo jur?dico, sendo nomeado como ouvidor, em Sabar?, e mais tarde desembargador do Tribunal da Rela??o do Rio de Janeiro e conselheiro da Fazenda, conforme a vinda da fam?lia real. Levantamos todas as atividades comerciais, familiares e clientelares desenvolvidas por Francisco Godinho, seus contempor?neos e pares, ou seja, indiv?duos que tiveram conflitos ou assuntos relevantes com nosso objeto de pesquisa. Al?m disto, nossa an?lise enfoca principalmente as formas de progress?o e ascens?o na carreira jur?dica. Atrav?s destes questionamentos, constitu?mos um processo comparativo entre a carreira, a nomea??o, a atua??o, as rela??es clientelares e a historiografia especializada no tema, sob os moldes do Imp?rio Portugu?s para a sua maior conquista no Setecentos, o Brasil. Portanto, percebemos as influ?ncias que os elos parentais e sociais desempenharam no cotidiano dos magistrados, tornando-os parte influente de uma sociedade din?mica.
Dias, Marcos Horácio Gomes. "O palácio de Deus e o templo do rei: a iconografia religiosa mineira e sua relação com os poderes constituídos." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/12736.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
ABSTRACT: The objective of this research is regarding the context of the appearance of Minas Gerais s art in the 18th century, marked by the Portuguese colonization and e statement of the Christian Catholic values. The works of that period are defined by the rhetoric and they are conditioned by the economy of the gold and for a society based on canons aristocrats and slavocrats. The history of Minas Gerais is characterized, above all, by a specific religiosity inside the Portuguese colonial territory marked by the secular organization of the orders third, brotherhoods and fraternities. In that sense, an entire artistic apparatus was important to show, to distinguish and to order that society that had been rich quickly, at the same time, that great sections of that same society were poor, enslaved and without perspective of life. The general objective of the research was to promote an analysis of the religious iconography of those different fraternities by analyzing the speech of the power of the monarch instituted at that time through the symbols and allegories crystallized in the artistic works of those groups. The more significant secular associations in Minas Gerais, due to the amount and quality of their temples and chapels, are: Order Third of Nossa Senhora do Carmo, Order Third of São Francisco de Assis, Fraternity of Nossa Senhora do Rosário and Fraternity of Nossa Senhora das Mercês. Specifically, it was aimed at determing the hagiografic narrative located in a colonial context as a result of a narrow relationship between Roman Catholicism and the Portuguese absolutist State
A problemática desta pesquisa é referente ao contexto do surgimento da arte mineira no século XVIII, marcada pela colonização portuguesa e a afirmação dos valores católicos cristãos. As obras desse período são definidas pela retórica e são condicionadas pela economia do ouro e por uma sociedade baseada em cânones aristocratas e escravocratas. A história de Minas Gerais caracteriza-se, acima de tudo, por uma religiosidade específica dentro do território colonial português assinalada pela organização laica das ordens terceiras, confrarias e irmandades. Nesse sentido, todo um aparato artístico foi importante para mostrar, distinguir e ordenar essa sociedade que ficara rica rapidamente, ao mesmo tempo em que grandes setores dessa mesma sociedade estivessem pobres, escravizados e sem perspectiva de vida. O objetivo geral da pesquisa foi promover uma análise da iconografia religiosa dessas diferentes irmandades analisando o discurso do poder instituído nessa época por meio dos símbolos e alegorias cristalizados nas obras artísticas desses grupos. As associações leigas mais significativas em Minas Gerais, por conta da quantidade e qualidade de seus templos e capelas, são: Ordem Terceira de Nossa Senhora Do Carmo, Ordem Terceira de São Francisco de Assis, Irmandade de Nossa Senhora do Rosário e Irmandade de Nossa Senhora das Mercês. Especificamente, objetivou-se determinar a narrativa hagiográfica localizada num contexto colonial fruto de uma relação estreita entre catolicismo romano e o Estado absolutista português
Khan, Sadia Shahid. "ARE UNACCOMPANIED REFUGEE MINORS IN SWEDEN BEING PUSHED TOWARDS THE RISK ZONE FOR CRIMINALITY? Determining the risk and protective factors of unaccompanied refugee minors." Thesis, Malmö högskola, Fakulteten för hälsa och samhälle (HS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-25709.
Full textDamasceno, Fonseca Cláudia. "Des terres aux villes de l'or : pouvoirs et territoires urbains au Minas Gerais, Brésil, XVIIIe siècle /." Paris : Lisboa : Centre culturel Calouste Gulbenkian ; Fundação Calouste Gulbenkian, 2003. http://catalogue.bnf.fr/ark:/12148/cb391356786.
Full textBibliogr. p. 575-593. Glossaire. Index.
Magli, Mia. "Giustizia penale e protezione dei minori nell’Unione europea." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAA005/document.
Full textToday children’s rights occupy an increasingly prominent place on the EU legal and policy agenda. The promotion and protection of the rights of the child is now an objective of the EU as set out in Article 3.3 of the Treaty on European Union. The rights of the child are also enshrined in the article 24 of the Charter of Fundamental Rights of the European Union. The EU has now many legislative documents and non-legislative acts related to children’s rights or that may have the potential to impact on children’s life. This Phd thesis analyzes the nature, scope and value of EU measures in relation to children in two main areas : child protection and juvenile criminal justice. It investigates if there is an added value of children’s rights at EU level and it also makes some suggestions to improve the promotion and protection of children’s rights in the EU
Al giorno d’oggi, i diritti dei minori occupano uno spazio sempre più importante nell’agenda giuridica e politica dell’Unione europea. Attualmente, infatti, la promozione dei diritti dei minori rappresenta un obiettivo dell’Unione, consacrato nell’articolo 3, par. 3, del Trattato sull’Unione europea. I diritti fondamentali dei minori sono poi sanciti esplicitamente nell’articolo 24 della Carta dei diritti fondamentali dell’UE. Oggi, l’Unione europea può disporre di numerosi strumenti normativi (e non) dedicati espressamente ai diritti dei fanciulli e tanti altri possono avere delle ripercussioni indirette sulla loro vita. La presente ricerca analizza, pertanto, la natura, la portata e il valore delle misure intraprese dall’UE in due settori principali : la protezione dei minori e la giustizia penale. Lo scopo della tesi è esaminare in che termini si possa parlare di un valore aggiunto della promozione dei diritti dei minori a livello UE, rispetto alle normative già in vigore a livello nazionale e internazionale. A partire da tale analisi, essa cerca di proporre nuove soluzioni per migliorare la promozione e la protezione dei diritti dei minori nell’Unione europea
Panagiotópoulos, Diamantís. "Das Tholosgrab E von Phourni bei Archarnes : Studien einem frühkretischen Grabfund und seinem Kulturellen Kontext /." Oxford : Archaeopress, 2002. http://catalogue.bnf.fr/ark:/12148/cb400632736.
Full textKarantzali, Efi. "Le Bronze ancien dans les Cyclades et en Crète : les relations entre les deux régions : influence de la Grèce continentale /." Oxford : Tempus reparatum, 1996. http://catalogue.bnf.fr/ark:/12148/cb36689781t.
Full textPereira, Danielle Manoel dos Santos [UNESP]. "A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86897.
Full textFundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Universidade Estadual Paulista (UNESP)
Esta dissertação analisa e compara as pinturas coloniais da região de Diamantina e do Serro, no meio-norte de Minas Gerais, com as pinturas do forro da Igreja da Ordem Terceira do Carmo de Mogi das Cruzes, em São Paulo. Os estudos desenvolvidos procuram avaliar as possibilidades de influência, ainda que apenas visual, dessas pinturas mineiras sobre as obras paulistas. As obras da rota do Serro (MG) são classificadas como pertencentes aos ciclos barroco e rococó da pintura mineira. São obras destacadas no panorama artístico por seus efeitos ilusionistas, a arquitetura e a pintura se integram aos forros das construções, criando arquiteturas fantasiosas em direção ao céu ou apresentando-nos uma visão celestial, que arrebata o espectador. As pinturas carmelitas de Mogi das Cruzes possuem visualmente uma relação muito intensa com as obras mineiras, o que indica as trocas artísticas ocorridas entre os pintores. Documentos levantados em arquivos mineiros possibilitaram identificar diversos dados sobre as obras que foram utilizadas para a análise: informações a respeito de sua construção e, principalmente, a identificação dos pintores que realizaram as obras mogianas. Dos artistas que realizaram as obras em São Paulo, não há em Diamantina ou no Serro nenhum documento que revele sua passagem pela região, mas isso não afasta a influência que se nota quando comparamos os elementos formais e constitutivos dessas obras. Essas são pinturas diferenciadas na arte colonial paulista, não encontram pares no território ao qual estão circunscritas e, por isso mesmo, devem ser preservadas e destacadas na história da arte nacional
This dissertation analyzes and compares the colonial paintings from the region of Diamantina and Serro in mid-north of Minas Gerais with paintings on the ceiling of the Church of the Third Order of Mogi das Cruzes’ Carmo in Sao Paulo. The studies carried out look to evaluate the possibilities of influence, even if only visual, of these paintings from Minas Gerais with the paintings in São Paulo. The paintings from Rota do Serro (MG) are classified as belonging to the cycles of the Baroque and Rococo painting from Minas Gerais. They are paintings that stands out in the art scene, where the architecture and the paintings integrate with the buildings ceiling, creating fanciful architectures toward the sky or showing us a heavenly vision, which grabs the viewers attention. The paintings from the Carmelites of Mogi das Cruzes have, visually, an intense relationship with the paintings of Minas Gerais, which indicates the artistic exchanges that took place among the painters. Documents collected from Minas Gerais’ archives helped to identify various data regarding the paintings that were used for analysis, information regarding the construction of paintings and especially the identification of the artists who worked on the mogianas paintings. From the artists who worked on the paintings in Sao Paulo, there is not, in Diamantina nor in the Serro any document that reveals its passage through the region, but this does not rule out the influence when comparing the formal and constituent elements of these works. These unique paintings of the colonial art in São Paulo, and wich there are no matching pairs in the territory to which they are confined, should be preserved and highlighted in the history of national art
Turchetto, Jacopo. "Cappadocia centro-meridionale (Turchia). Il sistema di viabilità antica in una terra di frontiera." Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3423597.
Full textNel quadro dell’antica viabilità dell’Anatolia, la Cappadocia centro-meridionale dovette rappresentare uno snodo importante, un’area privilegiata che merita una particolare attenzione in considerazione della sua rilevanza strategica, sia dal punto di vista militare che da quello economico. L’intero comprensorio era effettivamente attraversato da una serie di arterie stradali che collegavano l’Oriente e l’Occidente, così come nord e sud. L’arteria ‘meridionale’, che da Konya/Iconium procedeva verso le Porte Cilicie, passando per la valle del Çakıt Suyu, dovette rappresentare da sempre una via di comunicazione facile e agevole tra l’altopiano anatolico e la fascia costiera mediterranea della Cilicia. Quella ‘settentrionale’, stesa tra Konya/Iconium, Aksaray/Colonia Arcilaida e Kayseri/Caesarea – che sembrerebbe essere stata sfruttata quanto meno da epoca achemenide – favoriva una connessione tra l’entroterra e il confine orientale dell’Anatolia e, specialmente, con il comprensorio attraversato dall’Eufrate. Una terza strada, storicamente rilevante, che andava da Kayseri/Caesarea fino alle Porte Cilicie, doveva poi unire quelle due direttrici, chiudendo in questo modo quell’ampio e ideale ‘triangolo stradale’, i cui vertici sono rappresentati da Konya, Kayseri e le Porte Cilicie, che dovette veramente condizionare quella terra di frontiera. Questa tesi si propone di descrivere tutta quella rete stradale, costantemente utilizzata, anche se in termini differenti, nel corso del tempo. In particolare, si è cercato di ricostruire i diversi tracciati stradali sulla base di una rinnovata analisi delle fonti greche, romane e bizantine (sia letterarie che epigrafiche), di nuovi dati di carattere archeologico, di ricognizioni in loco e dell’analisi da remote sensing. Tutto ciò ha portato ad una riconsiderazione delle diverse ipotesi precedentemente avanzate dagli studiosi circa l’effettivo percorso seguito da tutte quelle direttrici e ha permesso di delineare un’immagine più congrua dell’antica rete stradale di quella terra di frontiera che univa Oriente e Occidente.
Horn, Evelyse Lins. "Fotografia expandida: o documentário imaginário de uma paisagem submersa entre a arte contemporânea e o documental." www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/7860.
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This research is about the photography between contemporary art and documentary. We will use, as the object, the photographs of the book "Underwater Landscape", of the photographers John Castillo, Pedro David and Pedro Motta, who appear as a hybrid, with characteristics of both, the art and the document. The text has its theoretical basis through reflection on the approach to documentary photography and contemporary art, using the authors André Rouillé, Jacques Rancière, Nicholas Bourriaud and Rosalind Krauss. The methodology used was the Photographic Analysis of François Soulages proposing that we should look at the photograph as a particular kind of visual sign produced in specific contexts and social relations in which the senses are operated and produced for him to understand the object to be photographed, we think of it as an object-problem, and we should examine it according to the photographic material and its critical questioning, and at the same time, the cultural imaginary. We improved this, with the ideas of Jon Prosser, who says the interpretative process of the Case Study requires the management of visual data in a logical sequence, which includes organizing, indexing and categorization. The interpretive process begins before the pictures are seen, decisions on which photos and how they were chosen, it is necessary to create a sense among the photographs, by observing the valuation contained in the images and their relation to the process.
Esta pesquisa é sobre a fotografia entre a arte contemporânea e o documental. Usaremos como objeto as fotografias do livro “Paisagem Submersa”, dos fotógrafos João Castilho, Pedro David e Pedro Motta, que se mostram como um híbrido, apresentando caracteristicas tanto da arte, como do documento. O texto tem suas bases teóricas por meio da aproximação de reflexões sobre a fotografia documental e a arte contemporânea, utilizando os autores André Rouillé, Jacques Rancière, Nicholas Bourriaud e Rosalind Krauss. A metodologia utilizada foi a Análise Fotográfica, de François Soulages, que propõe que devemos olhar a fotografia como um tipo particular de signo visual produzido em contextos específicos e as relações sociais nas quais os sentidos são operados e produzidos. Para ele, ao entender o objeto a ser fotografado, devemos pensá-lo como um objeto-problema, e devemos examiná-lo em função do material fotográfico e seu questionamento crítico e, ao mesmo tempo, dos imaginários culturais. Acrescentamos a isso as ideias de Jon Prosser, que diz que o processo interpretativo do Estudo de Caso requer o gerenciamento dos dados visuais em uma sequência lógica, que inclui organização, indexação e categorização. O processo interpretativo começa antes das fotografias serem vistas, nas decisões de quais fotografias e como elas foram escolhidas. Para isso, é necessário criar um sentido entre as fotografias, mediante a observação da valoração contida nas imagens e sua relação com o processo.
Sakr, Mountajab. "Le théâtre de la parole de Philippe Minyana : représentation de la parole et des gestes, passage du texte à la scène, techniques d'écriture." Phd thesis, Paris 8, 2009. http://www.theses.fr/2009PA083794.
Full textGuimarães, Maria Inês Junqueira. "L'oeuvre de Lobo de Mesquita : compositeur brésilien : (?1746-1805) : contexte historique, analyse, discographie, catalogue thématique, restitution /." Villeneuve d'Ascq : Presses universitaires Septentrion, 2000. http://catalogue.bnf.fr/ark:/12148/cb371149919.
Full text2 tomes en un volume. Catalogue thématique p. 288-437. Restitution de l'oeuvre intitulée "Dominica in palmis" Bibliogr. et discogr. p. 242-271. Index.
Careta, Marco Aurélio Figueroa 1980. "O Paraíso aos mineiros : proposições acerca de um discurso poético de Manoel da Costa Ataíde." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284625.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho teve por objetivo perscrutar o discurso poético de Manoel da Costa Ataíde presente na sua pintura em perspectiva realizada no forro da nave da Igreja de São Francisco de Assis em Ouro Preto, no provável período compreendido pelos anos de 1801 e 1812. Considerando os questionamentos de ordem epistemológica acerca da investigação crítica de uma obra de arte apresentados pelos Estudos Visuais, a referida obra foi focada como portadora de um discurso de natureza poética realizado por um artista através de uma pintura. Na abordagem da obra e do discurso por ela portado, foi considerada a essencial relação entre arquitetura e pintura inerente ao que de modo geral é chamado de pintura em perspectiva. Também foram considerados dados relativos ao autor da mesma, cuja naturalidade é de Mariana, Minas Gerais, e dados relativos ao contexto no qual ela se deu. Quanto ao contexto, ele foi interpretado a partir daquilo que possuía de imediato e de particular em relação aos contextos com os quais teve importantes relações, sendo que, foi chamado de mineiro tanto se diferenciando quanto se aproximando dos demais contextos do Brasil colonial, contemporâneos ou anteriores a ele, assim como se diferenciando e se aproximando de determinados contextos europeus devidamente destacados e justificados, dentre eles principalmente o português, o italiano e o francês. Dentre os contextos coloniais brasileiros foi importante distinguir o contexto que também se deu em Minas Gerais, e se deu principalmente do começo do século XVIII até a Inconfidência Mineira, do contexto no qual a própria obra se deu, o qual data do início do século XIX. Foram aproximadas a essa obra de Ataíde inúmeras outras obras de diversos artistas, mas, preferencialmente, além das demais obras do próprio artista marianense em questão, obras de artistas realizadas em contextos que possuíram alguma relação com o contexto mineiro e, sempre que possível, obras que puderam ser conhecidas pessoalmente pelo autor deste trabalho. Portanto, foram realizadas algumas viagens para possibilitar o contato pessoal com obras, por vezes, bastante específicas e que são encontradas em diferentes locais do sul do continente europeu. Como resultado deste trabalho foram elaboradas proposições acerca do discurso poético perscrutado, as quais, invariavelmente, revelaram uma grande sinceridade presente em tal discurso e que, ao mesmo tempo, confirmaram a potência genuína das diversas manifestações artísticas que, como um todo, ocorreram em Minas Gerais entre meados do século XVIII e início do século XIX, potência esta em cuja qual a contribuição de Manoel da Costa Ataíde é inestimável
Abstract: This study aimed to peer into the poetic discourse of Manoel da Costa Ataide present on his perspective painting held in the lining of the nave of the Church of St. Francis of Assisi in Ouro Preto, in the probable period comprehended by the years of 1801 and 1812. Considering the questions of epistemological order about the critique investigation of a work of art presented by Visual Studies, the referred work was focused as having a speech of poetic nature performed by an artist through a painting. In the approach of the work and of the discourse ported by it, was considered the essential relationship between architecture and painting inherent in what is generally called perspective painting. Were also considered data relating to the author of the same, whose naturalness is from Mariana, Minas Gerais, and data relating to the context in which it occurred. Regarding the context, it was interpreted from what it had of immediate and of particular in relation to the contexts with which had important relationships, whereas, was called of mineiro both differentiating and approaching of other contexts of colonial Brazil, contemporary or previous of it, as well as differentiating and approaching to certain European contexts properly highlighted and justified, including mainly the Portuguese, the Italian and the French. Among the Brazilian colonial contexts was important to distinguish the context that also took place in Minas Gerais, and took place mainly from the early eighteenth century until the Minas Conspiracy, of the context in which the work itself was given, which dates from the early nineteenth century. Were approached to this work of Ataíde numerous other works of many artists, but, preferably, in addition to other works by himself the artist of Mariana in question, works of artists performed in contexts that possessed some relationship with the mineiro context and, whenever possible, works that could be known by the author of this work. Therefore, there were realized a few trips to allow personal contact with works, sometimes, quite specifics and that are found in different locations of the south of the European continent. As the result of this work were prepared propositions about the poetic speech peered, which ones, invariably, showed a large sincerity present in such speech and which, at the same time, confirmed the genuine potency of the many artistic expressions that, as a whole, occurred in Minas Gerais between the mid-eighteenth century and the early nineteenth century, potency that in which the contribution of Manoel da Costa Ataide is invaluable
Mestrado
Artes Visuais
Mestre em Artes Visuais
Pereira, Danielle Manoel dos Santos 1982. "A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil) /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86897.
Full textBanca: Norberto Stori
Banca: Everaldo Batista da Costa
Resumo: Esta dissertação analisa e compara as pinturas coloniais da região de Diamantina e do Serro, no meio-norte de Minas Gerais, com as pinturas do forro da Igreja da Ordem Terceira do Carmo de Mogi das Cruzes, em São Paulo. Os estudos desenvolvidos procuram avaliar as possibilidades de influência, ainda que apenas visual, dessas pinturas mineiras sobre as obras paulistas. As obras da rota do Serro (MG) são classificadas como pertencentes aos ciclos barroco e rococó da pintura mineira. São obras destacadas no panorama artístico por seus efeitos ilusionistas, a arquitetura e a pintura se integram aos forros das construções, criando arquiteturas fantasiosas em direção ao céu ou apresentando-nos uma visão celestial, que arrebata o espectador. As pinturas carmelitas de Mogi das Cruzes possuem visualmente uma relação muito intensa com as obras mineiras, o que indica as trocas artísticas ocorridas entre os pintores. Documentos levantados em arquivos mineiros possibilitaram identificar diversos dados sobre as obras que foram utilizadas para a análise: informações a respeito de sua construção e, principalmente, a identificação dos pintores que realizaram as obras mogianas. Dos artistas que realizaram as obras em São Paulo, não há em Diamantina ou no Serro nenhum documento que revele sua passagem pela região, mas isso não afasta a influência que se nota quando comparamos os elementos formais e constitutivos dessas obras. Essas são pinturas diferenciadas na arte colonial paulista, não encontram pares no território ao qual estão circunscritas e, por isso mesmo, devem ser preservadas e destacadas na história da arte nacional
Abstract: This dissertation analyzes and compares the colonial paintings from the region of Diamantina and Serro in mid-north of Minas Gerais with paintings on the ceiling of the Church of the Third Order of Mogi das Cruzes' Carmo in Sao Paulo. The studies carried out look to evaluate the possibilities of influence, even if only visual, of these paintings from Minas Gerais with the paintings in São Paulo. The paintings from Rota do Serro (MG) are classified as belonging to the cycles of the Baroque and Rococo painting from Minas Gerais. They are paintings that stands out in the art scene, where the architecture and the paintings integrate with the buildings ceiling, creating fanciful architectures toward the sky or showing us a heavenly vision, which grabs the viewers attention. The paintings from the Carmelites of Mogi das Cruzes have, visually, an intense relationship with the paintings of Minas Gerais, which indicates the artistic exchanges that took place among the painters. Documents collected from Minas Gerais' archives helped to identify various data regarding the paintings that were used for analysis, information regarding the construction of paintings and especially the identification of the artists who worked on the mogianas paintings. From the artists who worked on the paintings in Sao Paulo, there is not, in Diamantina nor in the Serro any document that reveals its passage through the region, but this does not rule out the influence when comparing the formal and constituent elements of these works. These unique paintings of the colonial art in São Paulo, and wich there are no matching pairs in the territory to which they are confined, should be preserved and highlighted in the history of national art
Mestre
UNGARO, ROSANGELA. "ARCHITETTURA E DECORAZIONE ARCHITETTONICA A HIERAPOLIS DI FRIGIA, IN CARIA E NELLA IONIA TRA ETA' AUGUSTEA E NERONIANA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1911.
Full textThe aim of the research is to make a systematic study of the architectonical decoration in Augustan and Julio-Claudian Asia Minor. This project had its origins from the analysis of the architectonical decoration of “Tomba Bella” a Julio-Claudian funerary monument located in the North Necropolis of Hierapolis in Phrygia. The research was focused on the architectonical decorations of Hierapolis monuments of the Augustan and Julio-Claudian phase. The evidence suggested the need to investigate also the surrounding area of Caria and Ionia, in which recent research pointed out monuments of the early imperial period. All the published monuments of this period were catalogued, using an informatic system, to develop a typological description of the architectural elements; a contextual analysis of the main cities and related buildings was carried out, focusing on the well edited monuments and their architectural decorations. The concluding observation regard how previous styles have influenced the architectonical solutions in the Julio-Claudian age and their connection with Rome’s traditions, that spread over in Asia Minor during the Augustan period.
UNGARO, ROSANGELA. "ARCHITETTURA E DECORAZIONE ARCHITETTONICA A HIERAPOLIS DI FRIGIA, IN CARIA E NELLA IONIA TRA ETA' AUGUSTEA E NERONIANA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1911.
Full textThe aim of the research is to make a systematic study of the architectonical decoration in Augustan and Julio-Claudian Asia Minor. This project had its origins from the analysis of the architectonical decoration of “Tomba Bella” a Julio-Claudian funerary monument located in the North Necropolis of Hierapolis in Phrygia. The research was focused on the architectonical decorations of Hierapolis monuments of the Augustan and Julio-Claudian phase. The evidence suggested the need to investigate also the surrounding area of Caria and Ionia, in which recent research pointed out monuments of the early imperial period. All the published monuments of this period were catalogued, using an informatic system, to develop a typological description of the architectural elements; a contextual analysis of the main cities and related buildings was carried out, focusing on the well edited monuments and their architectural decorations. The concluding observation regard how previous styles have influenced the architectonical solutions in the Julio-Claudian age and their connection with Rome’s traditions, that spread over in Asia Minor during the Augustan period.
ISMAELLI, TOMMASO. "ARCHITETTURA DORICA A HIERAPOLIS DI FRIGIA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/245.
Full textPurpose of the present work is the systematic analysis of three monuments of the ancient city of Hierapolis in Phrygia (Pamukkale, Denizli, Turkey), which are distinguished by the Doric order: the porticus of the lower terrace of the Apollo Sanctuary, the Marble Stoà and the façades of the Frontinus Street. The research is based on the analytic examination of the architectonical blocks and, in the first place, aims at gaining the ancient image of the buildings developing graphic reconstructions of their plans and fronts, but also wants to define the “life” of the monuments, their practical and ideological meaning in the urban context. Special attention is given to the study of the technical and morphological aspects, to understand the relationships of the local workshops with those of the other cities of the Meander valley. The analysis of the Doric buildings of Hierapolis goes together with the study of the architectural patterns developed during the Hellenistic age in Asia Minor, to achieve the correct view of the local context in the creation of new architectonical types. The chronological definition of the buildings, by means of the analysis of stylistic features, epigraphical and stratigraphical data, allows us to define with more details the urbanistic history of Hierapolis during the Ist century A.D.