Dissertations / Theses on the topic 'Minoan art'

Art History
Ph.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

Art History
Ph.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

Research into the depiction of cattle in Minoan Art ha'i concentrated on representations of interaction between men and cattle, in particular, the images of bull sports. This emphasis has detracted from other types of cattle imagery. In this thesis the representation of the cow and calf in Minoan glyptic is assessed. Discussion of representation and meaning are of equal value, as a full understanding of the potential meaning of an image is dependent upon a detailed knowledge of what is represented. Specific anatomical and behavioural details described in the images are therefore compared with known physiological and behavioural characteristics. The Bronze Age representations are found to be very accurate and detailed in their description of the relationship between the cow and calf. Both the aesthetic and social contexts of the image are discussed in detail. The majority of representations of cows and calves are found on seals and sealings. The size, shape and restrictions of the medium as well as the range of potential uses of the stones (administrative, amuletic, jewellery) are considered. Fauna! evidence from Bronze Age Crete and accounts of cattle in Linear B texts confirm the importance of bovines as an integral part of the agricultural system as well as providing evidence of the range of cattle exploited. In discussing the potential meaning of the image, the survey draws on Bronze Age Aegean, Near Eastern and Egyptian evidence and later Greek (in particular Cretan) examples. Evidence from unrelated societies in which the cow is prominent is used as evidence of the diversity of possible meaning. The thesis concludes that it is not possible to categorise the image as specifically religious or secular; the range of potential meanings reflect the importance of the animal in all aspects of Minoan society.

Art History
Ph.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

Art History
M.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

Art History
M.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

Art History
M.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

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Art History
M.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

Aujourd’hui, la Crète offre une flore riche et en partie unique. Cette thèse a pour objectif d’étudier les plantes dans le monde minoen (Crète et Théra, actuelle Santorin), en identifiant les espèces grâce à divers supports, en analysant les procédés de préparation et les utilisations que les Minoens pouvaient faire de ces plantes. La première partie de notre travail est un catalogue iconographique qui répertorie les plantes dans l’art, les écritures et les analyses scientifiques. Les études publiées jusqu’à présent se concentrent sur l’identification des motifs floraux ou sur une plante spécifique et les relations hommes-plantes ne sont pas ou peu analysées. La particularité de notre démarche est d’être complétée par une analyse contextuelle qui permet de pallier cette lacune. La deuxième partie de nos recherches concerne la préparation des plantes, c’est-à-dire les attentions qu’elles nécessitaient avant d’être utilisées dans la vie quotidienne. Les domaines d’utilisations envisageables étant nombreux, notre étude se focalise sur l’utilisation des plantes dans les cérémonies religieuses et dans l’artisanat du textile
Today, 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

This thesis explores functional aspects and cultural roles of cook-pots to evaluate domestic cooking on the island of Crete (located in the Southern Aegean Sea) during the Late Bronze Age (Late Minoan, ca. 1600-1190 BC). The Integrated Approach to Ceramic Analysis (IACA) is proposed as a methodology for identifying interrelationship between people and pots in terms of production and use – by focusing on key elements of the vessels’ design, i.e. shape, ceramic fabric, size. IACA enhances the characterization of cook-pots beyond defining morphologies and fabric-types; it includes an experimental component that evaluates hypotheses concerning production and use. IACA is applied in reevaluating established cook-pot typologies to address our lack of knowledge about how individuals performed daily tasks in the prehistoric Aegean. Two case studies target cooking contexts well-placed to investigate cook-pot production and function, in both space and time. The cultural groups concerned are the towns of Mochlos and Papadiokambos on the northeastern coast. Mochlos was a thriving harbor town in the LMI period; Papadiokambos was its contemporary, a prosperous enough settlement. Mochlos was abandoned for a generation; it was reoccupied when Mycenaean influence was strong on Crete (LMII-III). Essentially, the cook-pot suites at Mochlos and Papadiokambos belong to a broader tradition, utilizing open and closed vessels. Experimental work that produced LM-style vessels out of similar clays as the archaeological cook-pots shows that while closed, bowl-shape bodies were used for slow cooking (i.e. stewing liquid-based foods) and open vessels are better suited for quickly sautéing, grilling, and baking foods there are hidden steps to producing and using these vessels. These actions are multifaceted and complex. This work encourages us to rethink how these tasks were performed to understand better why choices were made that have materialized in the archaeological record.

This thesis sheds first light on the complex narrative behind the earliest appearance of writing in Europe. A radical new framework of interpretation, recognising art and writing as different ends of a single mode of graphic expression, is applied to the material culture of Early to Middle Bronze Age Crete as a context-conscious alternative to the strict and anachronistic divisions imposed by traditional models. This allows for a novel way of viewing and identifying structures of meaning embedded in otherwise familiar evidence. A comprehensive synthesis of the archaeological evidence for the undeciphered Bronze Age Cretan writing systems is offered, contextualising the thesis and its arguments within a new narrative of mostly autonomous script formation on Crete. Detailed analysis of the material record is started in the Early Bronze Age, where a previously unrecognised system of Prepalatial glyptic iconography is demonstrated to have maintained uniform distribution and presentation for roughly eight centuries, appearing in the exact contexts, and ostensibly fulfilling similar functions, as later writing. This newly identified system is argued to have provided the conceptual background against which later writing emerged. The thesis subsequently discusses the Archanes Script, the first accepted ‘true’ writing to appear west of Egypt, which has been severely understudied and highly ill-understood. Redefining the Archanes Script completely, a first signary is constructed, and new documents discovered. A further chapter argues for the possible existence of other, as of yet unidentified, linear writing systems on Crete. This is followed by a study of the Cretan Hieroglyphic writing system; the unjustified omission of supposedly ‘decorative’ signs in many of its documents is identified, the script’s corpus nearly doubled, and ‘a complete turnaround in the way in which we approach and define Cretan Hieroglyphic’ proposed.

The absolute chronology of the Late Minoan I A period and in particular the date of the Minoan eruption at Santorini is the object of a debate which is ongoing since the 1970's, and lead many scholars to speak of a "conflict" between archaeological and Radiocarbon dating. This study presents a collation of all the main arguments for the archaeological chronology in the bibliography, and a reanalysis of the radiocarbon datasets from Akrotiri on Santorini, Tell el Dab'a in Egypt and other relevant sites for the interlinked chronology. In particular, a critic approach to the accuracy of Bayesian chronology applied so far and a new possible approach to radiocarbon interpretation based on notions from Quantum mathematics are suggested. In addition, an open source package to perform the different analyses has been developed and uploaded on-line at the site http://c14.bpinfo.org

Interrelations between Minoan palatial civilization and pharaonic Egypt take place all through the Bronze Age in very different forms. The hypothesis of an “African” influence on the development of Minoan civilization seems by now very reductive and unlikely, and the arguments advocated have proven to be controversial and outdated.. Direct and indirect contacts are attested from an archaeological point of view from as early as the Early Bronze Age, and become increasingly significant in correspondence with the development of the Middle Kingdom and later Hyksos/Canaanite international trading networks. Between the Middle and Late Bronze Age interrelations between Minoan Crete and Egypt certainly started to reach significant proportions and an official status, with Minoan artisans and officers physically working in Egypt and Minoan “embassies” being represented in the Theban tombs of the early XVIII Dynasty viziers but the uncertainty in the absolute chronology for the beginning of the Late Minoan I A and subsequent Late Minoan I B periods in Crete and the Aegean stemming from the statistical analysis of radiocarbon measurements from Akrotiri and other LBA sites of the Aegean (the Aegean High Chronology). The conflict between the archaeological based “traditional” chronology and AHC has become one of the more discussed subjects all of Mediterranean archaeology, and lead to the publication of an extremely huge amount of bibliography in the last two decades. After more than 30 years, the many ambiguities affecting the reconstruction of Minoan and interrelated absolute chronologies for the MBA-LBA transition make it impossible to properly understand the processes of this contact. This study aims to review, update and refine the views exposed in preceding studies by the authors (Fantuzzi, 2007a, 2007b, 2009) and summarize the present state of the debate on Late Bronze Age Aegean chronology.

Ce travail essaye de retracer le mode selon lequel les minoens concevaient le monde de la flore. Les données de la glyptique, à savoir quelques milliers de sceaux appartenant à la Crète protohistorique, constituent la base de cette étude. Le texte comporte quatre parties. Dans la première partie, on trouve une tentative de reconstitution du paysage crétois pour l’âge du bronze. Cette reconstitution s'appuie sur les résultats d'enquêtes scientifiques réalisées par des savants de disciplines diverses (palynologues, archéobotanistes, botanistes, etc. ). La deuxième partie comporte la typologie des motifs végétaux présents sur les compositions. Ces motifs sont repartis en cinq catégories : feuilles simples, feuilles multiples, branches, arbres, et fleurs ou graines. Pour chaque motif les informations suivantes sont fournies : typologie (types, sous-types et variantes), mise en scène, historique (origine du motif et son parcours dans l'art minoen), datation, et identification de l'espèce végétale représentée. La troisième partie concerne la typologie des compositions dans lesquelles apparaissent les motifs végétaux. Cette partie permet de retracer les types des compositions, leur vie et leur popularité, ainsi que l'emplacement des motifs par rapport aux autres éléments constitutifs des compositions en question. Enfin, la dernière partie traite la signification de la représentation de la végétation au sein de la scène. Elle aborde des problèmes concernant le choix artistique, la religion et la symbolique des minoens, en mettant l'accent sur certaines questions précises. Quels types de paysage les minoens préfèrent-ils représenter ? Quels sont les motifs de plantes les plus populaires et pourquoi (valeur esthétique, utilitaire ou autre) ? Quelles sont les informations qu'on possède sur le culte d'arbre et les "bosquets sacres" ou sur les actes et les croyances ayant des plantes comme point de référence ?
The 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 ?

This paper presents the regional geology, geochemistry and petrogenesis of volcanic rocks from Central Mindanao Volcanic Arc (CMVA), Philippines. This NNW-trending arc, from Lat 6°N-Long 125ºE to Lat 90 15'-Long 125º30'E occurs parallel to the Philippine Trench and to regional structures E of Lake Lanao. CMVA centres occur 15-200 km above a W-dipping subduction system. Subduction associated with the Philippine Trench probably produced the CMVA. CMVA can be grouped into 3 volcanically and seismically active arc segments from N to S: i) Misamis, ii) Bukidnon and iii) Davao. Camiguin Island is the most active volcanic field and resulted from SE-NW progression of volcanism from late Pliocene-Pleistocene lavas of Butay, Cabuan, Mt Ginsiliban and Mt Mambajao to Pleistocene-Recent lavas of Mt Catarman and Hibok-Hibok. Stratigraphy of historical deposits from Hibok-Hibok shows a range of volcanic products typical of other centres: domes, lava flows and pyroclastic flows. The rocks of CMVA are crystal-rich (40-50 vol% average) with a main phenocryst assemblage of plagioclase (An84-31) + clinopyroxene (augite, diopside) ± olivine (Fo84-72). Timagnetite usually crystallised late. Two types of andesite occur: pyroxene (augite ± enstatite) and homblende (magnesium-ferri homblende) andesite. Two dacite types are also recognised. Type 1 dacite (Mt Katanglad, Butay) usually has fine grained plagioclase + clinopyroxene whereas Type 2 dacite (Hibok-Hibok, Mt Apo) has medium-coarse grained amphibole ± biotite. Phenocryst chemistry shows that with increasing bulk-rock SiO2. plagioclase. olivine, clinopyroxene and Ti-magnetite follow chemical trends consistent with equilibrium crystallisation. Exceptions occur in basaltic andesite and some SiO2-rich andesite in which olivine is Fe-enriched, plagioclase is more calcic than in basalts (An78-84 vs An50-78) and there is a large incidence of reverse zoning in clinopyroxene. The most widespread lavas are medium-K calcalkaline (CA) basalt, andesite and dacite with occasional low-K and high-K CA lavas. Major and trace element variations are similar with other island arc basalt (IAB) and exhibit the characteristic depletion in Zr, Ti, Y and to a lesser extent, of Ce relative to N-MORB. N-MORB normalised trace element contents are generally >1.0 and have low Zr/Nb ratios (7-14) indicating an E-MORB/OIB type mantle wedge. All CMVA basalt-basaltic andesites have lower Mg#, Cr and Ni relative to primitive MORB, probably a result of olivine-dominated fractionation. Silica activity (-0.33 to -0.36 log units) and crystallisation temperatures (1,090 - 1,161°C) of CMVA basalts suggest a source region geochemically between olivine tholelite and alkaline olivine basalt. Basaltic analyses, corrected for olivine fractionation, suggest primitive CMVA compositions resemble magnesian MORSs. Assuming equilibrium batch melting, CMVA parental magmas segregate from residues at 10-15 kbar after 10-14% partial melting. The resultant melts are LIL-element enriched with high Ba/Nb and Ce/Nb ratios indicating a slab contribution although crustal contamination was probably low, based on low Rb/Sr ratios (0.015-0.026) relative to other lAB (0.03) and continental crust (0.12). Andesite and dacite can be modelled satisfactorily by low pressure closed-system crystal fractionation. The main fractionating assemblage is olivine + clinopyroxene + plagioclase ± Timagnetite in basalt-basaltic andesite melts whereas plagioclase + amphibole ± Ti-magnetite fractionate from basaltic andesites to form SiO2-rich andesite and dacite. Magma mixing and assimilation probably occurred at Mt Apo. In summary, the deeper seismic zone beneath CMVA relative to other island arcs may be explained by lateral transport of fluids from subducted slab (Davies and Stevenson, 1992) using a slab-induced convection model (Tatsumi, 1986; Saunders et ai, 1991). Partial melts segregate at depth (spinel peridotite field) to form olivine or nepheline to diopside-normative tholeiites. As these magmas ascend, they cool, become more dense and pond at the lower crust where they differentiate to high-AI basalt and basaltic andesite. Diapirs then migrate from lower crust to shallow magma chambers (< 5 km) where extensive fractional crystallisation results in andesitic magmas. Disequilibrium features of phenocrysts from basaltic andesites support the concept of mixing between a lower basaltic layer and an upper intermediate composition layer. Predominance of intermediate to SiO2-rich lavas suggest that i) most eruptions tap only the upper portion of compositionally-zoned chambers and/or ii) magma chambers are at a mature stage of chemical evolution.

Texte remanié de: Diss.--Philosophische Fakultät--Universität Münster, Wintersemester 1995/96. Titre de soutenance : Der Rat im spätmittelalterlichen Minden 1231-1539.
Bibliogr. p. 479-506. Index.

Vienatvės, vienišumo šaknis turbūt reiktų sieti ne tik su homo sapiens pradžia, bet tam tikra prasme ir su gyvybės atsiradimu apskritai. Vienišumas – tai emocinė individo būsena, o kartu ir sociumo reiškinys, kurį būtų galima įvardinti kaip gana dažną šių dienų elementą. O vienatvė – daugiau fiziologinį atspalvį turintis reiškinys, tai padėtis (situacija), kuomet vienas objektas (šiuo atveju žmogus) yra atskirtas nuo kitų tokių pat objektų (t.y. kitų žmonių). Vienatvė gali būti „padiktuota“ aplinkybių, t.y. priverstinė, taip pat ji gali būti ir pasirinktinė, kuomet tai yra sąmoningas individo sprendimas (pvz. „savęs ieškojimas“, minčių „kristalizacija“, įkvėpimo bei kūrybinio potencialo generacija). Sąvoka vienišumas gali turėti kelis interpretavimo variantus: vienišas individas (žmogus) gali jaustis aplinkinių žmonių atžvilgiu (draugų bei bendraminčių neturėjimas, individualios jo pasaulėžiūros ignoravimas ir pan.); vienišas žmogus gali būti ir vertinant jo egzistavimą pasaulio masteliu (susvetimėjimas, prasmės neturėjimas ir pan.); vienišumas gali būti padiktuotas tam tikrų situacijų (netekus artimųjų, išsiskyrimas su brangiais žmonėmis). Darbe nagrinėjama mokslinę teorinę informaciją apie fizinį ir psichologinį būvį – savarankišką dvasinį stovį, vienišiaus psichinė ir socialinė egzistencija Kurią plačiai nagrinėja mokslininkai, psichologai. Pirmame teorinės dalies skyriuje nagrinėjamos vienišumo sąvokos, susijusios su vienišumo reiškiniu. Plačiau gilinamasi į vienatvės... [toliau žr. visą tekstą]
Solitude, 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]

[EN] SUMMARY (English) Art, industry and rural areas: The implication of art in the transformation processes of the territory. The experience of Ojos Negros mines (Teruel) This dissertation takes an intervention process through art on a natural environment altered by human action: the iron mines open pit Ojos Negros (Teruel). The hypothesis of the research is the ability of art to promote, guide and intervene in processes of transformation of the territory and so specifically, the finding that capacity through the results this mining environment. I starting from a first approach from the art world in which I developed a series of works and exhibitions around the mining stage, and after contact with the local residents, was moving towards my creative activity intervention the territory, integrating the rest of the stakeholders: residents and authorities in the search for alternatives to the cessation of mining activity. The artist becomes a dynamic agent, a mediator who proposes and promotes collaborative strategies with the mining group, generating a change in the perception of the space of intervention that is oriented towards the field of art and culture. Through organizing three meetings held in mines Ojos Negros between 2000 and 2007, the artistic action served to aggregate artists, miners, authorities and specialists from the field of art, architecture, industrial archeology, sociology, mining and local development, contrasting opinions and proposals for the construction of a new stage in the converge the industrial past with a new cultural identity. To achieve this goal have continued empirical research methods, deploying a research process based on experience. Given its application in the same space of intervention, we can talk about an experiment field, to analyze the process and the impact it has on the actors in their environment natural. In turn, the investigator is the agent responsible for conditions beginning and development of changes, both in the space field and in the community involved. Throughout the process they have been applied instruments observation has allowed to directly follow up their evolution. Has been participant observation, which besides observer, researcher also formed part of the observed object. The references that accompany this research have helped contextualize framework for action. On one side basics are addressed and heritage industrial archeology, with some national and international examples of action in disused mining and steel operations. Furthermore, it draws a tour of the presence of industrial activity in the different artistic disciplines, such as painting, sculpture, photography, film and literature and, finally, address some examples of action in industrial and social contexts They are going through conflict or are involved in processes of change. As practical results we must emphasize the Government's decision of Aragon to declare Ojos Negros mines Cultural Park, the highest figure heritage protection of the Aragonese community. Also involvement neighbors and local authorities in the activities, reaffirming its mining identity and interest in addressing the changing roles of its natural environment and industrial after the cessation of the activity. On the theoretical side it has been important the publication of minutes of meetings developed in the mines, giving interventions known artists and expert opinion participants, leaving the testimony of an experience that has helped boost change function and social revitalization of the environment. Keywords: Public art, land-art, industrial archeology, mining, Ojos Negros.
[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

Ao longo de aproximados quarenta anos de pesquisas arqueológicas no Centro e Norte de Minas Gerais, nos quais os grafismos rupestres foram contemplados, criou-se um cenário de um quase contínuo de áreas pesquisadas. Nestas as pesquisas dos vestígios gráficos parietais foram organizados em conjuntos, utilizando-se das grandes unidades classificatórias usuais na Arqueologia, dialogando com os conceitos de estilo e tradição. Esta pesquisa comparou os conjuntos gráficos de algumas regiões do centro e norte de Minas Gerais a partir de análises tipológicas e de associação temática a fim de se discutir as atribuições dos conjuntos em categorias classificatórias amplas e o delineamento de possíveis territórios. Para tanto se utilizou de conjuntos de dados primários e secundários, os últimos disponíveis das dissertações, teses, artigos e acervos do Museu de História Natural da UFMG e de diálogos entre o conceito de estilo, e próprios da reflexão metodológica, buscando uma aproximação entre a produção bibliográfica arqueológica e antropológica.
In 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.

At most universities internationally, secondary piano instruction is compulsory for all music students regardless of their field of specialisation. Vocal art students studying at the Tshwane University of Technology (TUT) are also expected to complete three years of basic piano tuition. Since the researcher teaches secondary piano at the Department of Performing Arts: Vocal Art (TUT), the aim of this study was to determine the objectives of the tuition, and appropriate methods through which they can be best achieved. The research is based on an investigation of relevant literature on secondary piano instruction for music majors at universities in South Africa and abroad. Since the researcher was primarily trained to teach basic piano to very young beginners, it was thought necessary to firstly investigate the field of adult education and basic piano instruction for adults and college-age students. The results of the literature search confirmed that basic piano tuition for children differs greatly from that for older beginners. It became clear that the success of basic piano instruction for adults greatly depends on the teacher’s understanding of these fundamental differences as well as knowledge of appropriate approaches and methods with which to accommodate adults’ unique characteristics. Subsequently, the purpose of teaching piano playing skills to non-piano music majors was investigated. Results indicated that there is a broad spectrum of skills which can aid the musician in his future career. These include technique, sight-reading, accompanying, harmonisation, transposing, repertory study, vocal score-reading and reduction, instrumental score reduction, improvisation, playing by ear, playing of folk songs, developing musicianship skills, critical listening, performance skills, chord playing, ensemble playing, realisation of figured bass, modulation, memorisation, music analysis, playing two or more parts from multiple staves, playing warm-up exercises, singing a vocal part while playing other parts, and jazz piano playing. The most important piano playing skills for non-piano music majors to acquire were identified as technique, sight-reading, accompanying, repertory study and improvisation. Controversies exist about the importance of each of these skills, but most teachers agree that they should all be present in the secondary piano curriculum. The most common method used to teach these skills to instrumentalists and singers was identified as group tuition. This method of teaching is not used merely because it is more economical but also for various musical and sociological reasons. Musical advantages include the acquisition of a broad spectrum of skills such as critical faculties, listening skills, ensemble activities, self-assessment skills, improved practice habits and progress, rhythmic stability, improved intonation, memory training and notational reading. Social advantages include interaction, peer-learning, motivation, encouragement, discovery-learning, enjoyment, involvement and the development of individuality and self-esteem. At the end of each chapter, specific guidelines for teaching basic piano to vocal art students at TUT are given. The study culminates in conclusions and recommendations drawn from the results of the literature investigation Copyright
Dissertation (Music)--University of Pretoria, 2010.
Music
unrestricted

La ville de Canée, en Crète occidentale, a un long héritage historique. Cette étude a pour but de rassembler l'ensemble des témoignages issus des fouilles récentes et de présenter une image de la vie du site pendant les époques minoenne et géométrique. La première installation humaine remonte au 3e millénaire, à l'époque du bronze ancien. L'occupation du site s'est poursuivie ensuite sans interruption jusqu'au 12e avant notre ère, en dépit de destructions répétées ; dues principaement à l'activité sismique, sans que l'on puisse exclure d'autres catastrophes naturelles ou des incursions. Après une interruption du début du 11e jusqu'au 9e avant notre ère, le site, comme les autres villes de Grèce, connaît un nouveau développement au 8e siècle, à la fin de l'époque géométrique, période marquée par l'apparition des cités-états. Il semble que le nom de la ville antique, à l'époque minoenne comme à l'époque géométrique, était celui de Kydonia, ville connue dans la tradition antique comme l'une des plus importantes de Crète. Fondée à un emplacement privilégié pour la navigation en Méditerranée orientale, disposant d'un excellent fort naturel, elle a développé le commerce maritime dans le bassin égéen et vers Chypre, le Proche-Orient, l'Egypte, l'Italie, La Sardaigne. Par ailleurs, des relations se sont établies à l'époque géométrique avec de nombreuses villes et régions de Grèce (Arcadie, Argos, Egine, Samos, Zakynthos) dont les habitants ont parfois trouvé refuge sur son sol, lui donnant le caractère cosmopolite qu'elle a gardé jusqu'à maintenant

Throughout the late eighteenth century, many Brazilians became inspired by the political revolutions of the French and American colonies and sought for a similar type of revolution, hoping to gain independence from the Portuguese. One nationalistic group, the "Inconfidência Mineira," probably influenced the art of the sculptor Aleijadinho (1738-1814). Aleijadinho's work has been examined as a political message previously, but never as propaganda through the representation of capoeira, an Afro-Brazilian martial art. Capoeira probably formed as a means for Afro-Brazilian slaves to fight their way out of captivity. While training to fight, slaves would disguise capoeira to look like a dance, so that slave owners would not suspect rebellion. Through the visual representation of capoeira, Aleijadinho's statues of twelve Old Testament prophets at the sanctuary Bom Jesus dos Matozinhos express a call for liberation, not only liberation for African slaves, but also for Brazilian colonists under Portuguese rule. This study examines the circumstances that may have contributed to the influence of capoeira in the Prophets. Being a mulatto, Aleijadinho's ancestral connections to the Afro-Brazilian community likely contributed to the sculptor's exposure to capoeira. In addition, the rise and fall of the rebel group, "The Inconfidência Mineira" took place in Aleijadinho's home town at this time. This study examines how Aleijadinho may have been associated with rebel sympathizers and how the execution of the rebel leader, Tiradentes, could have affected Aleijadinho's art. The argument for capoeira also includes a discussion of the martial art's origins and the history of slavery in Minas Gerais, Aleijadinho's home state. The comparative method is used to support the argument for capoeira in the Prophets' composition and gestures. By interpreting these gestures as belonging to capoeira, this argument refutes previous interpretations that the Prophets were influenced by ballet and other forms of dance. This study concludes with an exploration of how the Prophets can be interpreted as political propaganda through the signifiers and signs of capoeira. It is through these signs that the Prophets can be understood as a call for liberation, taking part in the political propaganda which permeated Minas Gerais during Aleijadinho's lifetime.

Oggetto del mio lavoro di ricerca è la sottrazione internazionale di minore, fenomeno che si verifica quando un minore viene condotto o trattenuto in uno Stato diverso da quello in cui risiede abitualmente, senza il consenso del genitore che ne ha la responsabilità genitoriale o al quale comunque spetta la decisione sul luogo della sua residenza. La Convenzione dell’Aja del 1980 è lo strumento di riferimento su scala internazionale per gestire il procedimento di ritorno del minore: prevede un meccanismo molto semplice ideato per permettere, nel minor tempo possibile, il ritorno del bambino dallo Stato di rifugio al proprio Stato di residenza abituale, luogo in cui si trova idealmente il giudice che può meglio decidere sul suo affidamento. L’oggetto del giudizio di sottrazione non sarà dunque l’opportunità o meno che il bambino torni nel proprio Stato di residenza abituale (si presume infatti, ragionando a livello astratto, che il ritorno sia la scelta migliore nell’interesse del minore), bensì verterà sul verificare la sussistenza di una delle eccezioni al rimpatrio tassativamente indicate dalla Convenzione. Quanto invece alla disciplina penalistica, il reato di sottrazione internazionale di minore è stato introdotto in Italia nel 2009 (legge 15 luglio 2009, n. 94) all’art. 574-bis c.p. La disciplina appena accennata fornisce una risposta adeguata ai casi in cui il genitore non affidatario (spesso il padre) allontana il minore dal genitore affidatario per ritorsione nei confronti di quest’ultimo; tuttavia, accade sempre più spesso che siano le madri (in un contesto di affidamento condiviso) ad allontanarsi dalla residenza abituale (in molti casi per sfuggire a situazioni di violenza domestica) e a fare ritorno nel loro Stato di origine, senza coordinarsi (o non potendo farlo) con l’altro genitore. Questa inversione di tendenza emerge chiaramente dai dati statistici raccolti nell’ambito della Conferenza dell’Aja. Non resta, dunque, che chiedersi se la normativa vigente sia in linea con la fotografia della realtà fornita dai dati empirici.
International 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

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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.

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Coordenação 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

In recent years, Europe has witnessed a flow of refugees from war struck areas who seek asylum in various European countries, where Sweden is one of the recipient country. A large portion of these refugees comprise of unaccompanied refugee minors (URMs). Aim: The aim of the present study is to examine how unaccompanied refugee minors have the conditions in Malmo when it comes to individual health and lifestyle (tobacco, alcohol and drug use) and social environment (absence of family, living situation, school, social support and future prospects) as compared to the general population of the same age; and also, if these conditions could possibly put them at a risk to encounter or commit a crime. Method: The data is collected using quantitative survey questionnaires distributed to URMs (N=30). The data of the general population has been obtained through Region Skåne. Results: The findings indicate that in comparison to the general population, URMs report high level of ill-health, tobacco use, access to narcotics and low social support, which are termed as risk factors. The institute of school, however, is termed a protective factor for the URMs, where they score almost equivalent to the general population in terms of school satisfaction and better than them in terms of help and support from the teachers. The implication of the findings are discussed further in the paper.

Texte remanié de: Th. doct--Hist.--Paris--EHESS, 2001. Titre de soutenance : Pouvoirs, villes et territoires : genèse et représentations des espaces urbains dans le Minas Gerais (Brésil), XVIIIe-début XIXe siècle.
Bibliogr. p. 575-593. Glossaire. Index.

Aujourd'hui les droits des mineurs occupent une place de plus en plus importante dans l'agenda juridique et politique de l'UE. La promotion des droits de l'enfant représente maintenant un objectif de l'UE, consacré dans l'article 3, paragr. 3, du Traité sur l'Union européenne. Les droits de l'enfant sont également cristallisés dans l'article 24 de la Charte des droits fondamentaux de l'Union européenne. Actuellement l'Union européenne dispose de nombreux actes législatifs et de documents non législatifs relatifs aux droits des mineurs ou qui peuvent avoir des répercussions indirectes sur la vie des enfants. Ce travail analyse la nature, la portée et la valeur des mesures de l'UE dans deux domaines principaux : la protection des enfants et de leurs droits et la justice pénale des mineurs. Le but de la recherche a été d’examiner jusqu'à quel point on peut parler d’une valeur ajoutée de la promotion des droits des enfants au niveau de l'UE, par rapport au niveau national et international et également celui de proposer de nouvelles solutions pour améliorer la promotion et la protection des droits des enfants dans l’Union européenne
Today 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

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Fundação 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

While considering the ancient road network of Anatolia, central and southern Cappadocia could very well have served as a major hub or pivotal area, and merits our special attention on account of its strategic importance both in the military and in the economic senses. The whole district was, indeed, passed through by a series of roads, which effectively linked east and west, as well as south and north. The ‘southern’ directrix leading from Konya/Iconium to the Cilician Gates, running across the Çakıt Suyu valley, ensured smooth and easy communication between the Anatolian plateau and the Mediterranean shores of Cilicia. The ‘northern’ highway from Konya/Iconium to Aksaray/Colonia Arcilaida and Kayseri/Caesarea - which has at least been in use from the Achaemenid period to nowadays - connected the inner land to the eastern boundary of Anatolia and especially to the Euphrates district. Another historically important road from Kayseri/Caesarea to the Cilician Gates joined the former directrix to the latter, closing that sort of wide and hypothetical ‘road triangle’ - whose vertexes being Konya, Kayseri and the Cilician Gates – which has really characterised that frontier territory. This thesis tries to describe all that road system, which has been in use, even if in different ways, through time till nowadays. The ancient road-tracks have been reconstructed by a renewed study of Greek, Roman and Byzantine literary and epigraphic sources, new archaeological data, new surveys conducted on-site and by remote sensing analysis. And all these have led to a reconsideration of the various hypotheses advanced by scholars with regard to the actual line taken by these arterial roads, and they have drawn us to propose a more congruous picture of the ancient road network which existed in this border territory that linked East and West.
Nel 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. 2012. 176f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2012.
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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.

Cette thèse de 420 pages, comporte en plus de l'avant propos, quatre grandes parties de plusieurs chapitres chacune. L'introduction est incluse dans la première partie, et de la même façon les synthèses sont dans la quatrième partie, puis une conclusion générale suivie d'annexes, un entretien avec l'auteur, précédé d'une biographie et une bibliographie de l'auteur Philippe Minyana. Le sujet de la thèse intéresse en particulier les chercheurs travaillant dans les domaines du théâtre comme celui de la création théâtrale et de la réception, puisqu'il pose la question de la parole au théâtre. Ce genre de travail se situe à la frontière du théorique et de la pratique. La thèse pose des questions sérieuses auxquelles elle essaye de répondre, le rapport entre la parole au théâtre et celle dans la réalité. Puis le rapport de l'œuvre avec le réel, la société contemporaine. Nous justifions notre choix de l'œuvre de Philippe Minyana en raison de sa vivacité, sa particularité dramatique dans le théâtre français contemporain, cette particularité réside dans la diversité des procédés de l'écriture utilisée dans les formes dramatiques de l'auteur. Notre recherche se situe dans le creuset de la création dramatique de l'auteur étudié. Ce qui gît dans ce creuset, c'est la parole représentée, une écriture sans cesse réinventée, reconstruite à travers ses croisements avec la parole quotidienne. Dans le panorama des pièces de Minyana, nous proposons de suivre les battements de la parole en montrant l'évolution dramaturgique mise en œuvre par l'auteur dans les formes monologuées, la forme épique, la forme fragmentée des drames brefs, la rapports humains dans des lieux clos ou l'économie de la parole dans les dernières pièces. Le travail se base sur une de étude des textes dramatiques et des axes dramaturgiques de l'œuvre de Minyana pour voir quelles sont les techniques d'écriture que Minyana utilisées dans son œuvre, et de là comment la parole prend une nature différente suivant les multiples formes d'écriture de l'auteur. Nous essayons de montrer comment la parole est structurée dans l'ensemble de l'œuvre de Minyana, de prouver qu'elle y est prioritaire par rapport aux autres composantes dramatiques. En analysant les étapes de cette écriture, nous suivons le mouvement intérieur de cette dramaturgie à travers l'étude de la «profération » de la parole sur scène. Il s'agit dans thèse d'une étude détaillée de la langue dramatique dans les pièces choisies, (la répétition, le passage du coq à l'âne, l'oralité, la parole dans le récit dans son rapport au passé du personnage, les façons de parler des figures, l'étude la parole stylisée, les niveaux de la parole des figures et le passage d'un niveau à l'autre et la répétition des gestes qui entraîne une répétition de parole etc. ) en vue de déterminer des formes dramaturgiques spécifiques.

Th. doct.--Musicologie--Paris 4-Sorbonne, 1996.
2 tomes en un volume. Catalogue thématique p. 288-437. Restitution de l'oeuvre intitulée "Dominica in palmis" Bibliogr. et discogr. p. 242-271. Index.

Orientador: Mauricius Martins Farina
Dissertação (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

Orientador: Percival Tirapelli
Banca: 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

Questa ricerca propone una sistematica analisi dell’architettura di età augustea e giulio-claudia in Asia Minore. Il lavoro ha tratto spunto dall’analisi della decorazione architettonica della Tomba Bella a Hierapolis di Frigia attribuita ad età giulio-claudia, un edificio funerario monumentale ubicato nella Necropoli Nord di Hierapolis. Lo studio di questo monumento ha suggerito la necessità di ampliare l’area di indagine alla città di Hierapolis e alle contigue regioni di Caria e Ionia per individuare lo sviluppo delle tradizioni architettoniche comuni. È stata realizzata una schedatura sistematica degli edifici di prima età imperiale riconosciuti in questi territori attraverso un data-base, che consentisse di archiviare e gestire tutte le informazioni raccolte. Questo ha permesso di proporre dapprima un inquadramento tipologico degli elementi architettonici, con l’individuazione di specifici tipi di cui è stata riconosciuta la genesi e la distribuzione, e successivamente un esame contestuale solo per quei monumenti di cui fossero noti contesti e materiali architettonici. In conclusione si sono descritte le modalità in cui la tradizione microasiatica preesistente e le influenze della tradizione decorativa occidentale fossero intervenute nel linguaggio architettonico di prima età imperiale e, laddove possibile, è stata affrontata anche la questione delle committenze e delle maestranze.
The 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.

Questa ricerca propone una sistematica analisi dell’architettura di età augustea e giulio-claudia in Asia Minore. Il lavoro ha tratto spunto dall’analisi della decorazione architettonica della Tomba Bella a Hierapolis di Frigia attribuita ad età giulio-claudia, un edificio funerario monumentale ubicato nella Necropoli Nord di Hierapolis. Lo studio di questo monumento ha suggerito la necessità di ampliare l’area di indagine alla città di Hierapolis e alle contigue regioni di Caria e Ionia per individuare lo sviluppo delle tradizioni architettoniche comuni. È stata realizzata una schedatura sistematica degli edifici di prima età imperiale riconosciuti in questi territori attraverso un data-base, che consentisse di archiviare e gestire tutte le informazioni raccolte. Questo ha permesso di proporre dapprima un inquadramento tipologico degli elementi architettonici, con l’individuazione di specifici tipi di cui è stata riconosciuta la genesi e la distribuzione, e successivamente un esame contestuale solo per quei monumenti di cui fossero noti contesti e materiali architettonici. In conclusione si sono descritte le modalità in cui la tradizione microasiatica preesistente e le influenze della tradizione decorativa occidentale fossero intervenute nel linguaggio architettonico di prima età imperiale e, laddove possibile, è stata affrontata anche la questione delle committenze e delle maestranze.
The 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.

Obiettivo del lavoro è lo studio sistematico di tre complessi monumentali della città di Hierapolis di Frigia (Pamukkale, Denizli, Turchia) caratterizzati dall'adozione dell'ordine dorico, ossia il portico del terrazzo inferiore del Santuario di Apollo, la Stoà di Marmo e le facciate della Via di Frontino. La ricerca, fondata sull'osservazione analitica dei blocchi architettonici, ha mirato a restituire, in prima istanza, l'immagine complessiva dei singoli edifici, con ricostruzioni grafiche delle planimetrie e dei prospetti, ma anche a comprendere la “vita” del monumento, ossia la sua destinazione d'uso ed il suo significato pratico ed ideologico all'interno dell'ambito cittadino. Ampio spazio è riservato inoltre allo studio degli aspetti tecnici e formali, che permettono di fare luce sull'attività delle botteghe locali coinvolte nella lavorazione del marmo e del travertino, con attenzione alle loro relazioni con gli altri centri dell'alta valle del Meandro. L'esame degli edifici ierapolitani si accompagna all'analisi dei modelli architettonici sviluppati nel corso dell'età ellenistica in Asia Minore, al fine di valutare correttamente il ruolo del contesto locale nell'elaborazione di nuovi tipi architettonici. L'inquadramento cronologico dei vari complessi, condotto tramite l'esame dei caratteri formali, dei dati epigrafici e stratigrafici, consente di ampliare la conoscenza della storia urbanistica della città di Hierapolis nel corso del I sec. d.C.
Purpose 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.