Tesis sobre el tema "Monuments italiens"
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Schwarz, Martina. "Tumulat Italia tellus : Gestaltung, Chronologie und Bedeutung der römischen Rundgräber in Italien /". Rahden/Westfalen : M. Leidorf, 2002. http://catalogue.bnf.fr/ark:/12148/cb39277742z.
Texto completoMichalsky, Tanja. "Memoria und Repräsentation : die Grabmäler des Königshauses Anjou in Italien /". Göttingen : Vandenhoeck & Ruprecht, 2000. http://catalogue.bnf.fr/ark:/12148/cb372150781.
Texto completoVidor, Gian Marco. "Biografia di una necropoli italiana del XIX secoloBiographie d'une nécropole italienne du XIXe siècle : il cimitero della Certosa di Bologna : le cimetière de la Chartreuse de Bologne : thèse en co-tutelle". Versailles-St Quentin en Yvelines, 2008. http://www.theses.fr/2008VERS022S.
Texto completoFounded in 1801, the Certosa cemetery is not a simple application of Enlightenment reforms regarding sepulchres. In certain aspects, it constitutes a unique example in the Italian and European panorama. A large necropolis, almost completely closed off from the exterior world, the cemetery is conceived as a sort of museum of contemporary funerary art. It is also a village where lives, not always peacefully, a small community, composed of employees and their families. The history of the Certosa of Bologna highlights the polymorphous nature of necropolises of the nineteenth century and shows a complex hierarchical organization of sepulchres based on plurisecular categories of separation, marginalization, and exclusion of the cadavers. Fundamental location for the constitution of urban identity and national identity, the cemetery presents an interaction between the elements of the Middle Ages burial ground with those of the necropolis imagined and projected by eighteenth century culture
Pinon, Pierre. "Pierre-Adrien Pâris (1745-1819), architecte, et les monuments antiques de Rome et de la Campanie /". Rome : [Paris] : École française de Rome ; [diff. de Boccard], 2007. http://catalogue.bnf.fr/ark:/12148/cb41083614b.
Texto completoBibliogr. p. 417-420. Index.
Mason, David Robert. "'New lamps for old' : English responses to the restoration of monuments in Italy, ca. 1860-1890". Thesis, De Montfort University, 1997. http://hdl.handle.net/2086/4115.
Texto completoFerrante, Roselene de Souza 1979. "Entre "deuses de bronze" e "homens de papel" : análise das obras do escultor italiano Pasquale De Chirico em Salvador (1906-1944)". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279637.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta dissertação aborda a produção artística de Pasquale De Chirico em Salvador, Bahia, no período de 1906 a 1944. A pesquisa encadeia fontes documentais inéditas, quer a respeito de sua trajetória biográfica, quer no tocante às suas obras, destinadas tanto ao âmbito público quanto privado. Aqui, há um mapeamento da inserção dos monumentos escultóricos na malha urbana de Salvador, a exemplo de Castro Alves ¿ obra que marcou a consagração do artista. De modo paralelo à produção de monumentos públicos, Pasquale De Chirico elaborou um amplo conjunto de registros em papel e bronze de "tipos humanos", em especial de afrodescendentes; são homens e mulheres mergulhados em seu anonimato sob cânones acadêmicos que configuram uma iconografia de negros
Abstract: This dissertation approaches the artistic work by Pasquale De Chirico in Salvador, Bahia, Brazil, within the period from 1906 to 1944. The research links unpublished documentary sources, either about his biographical path or regarding his works, aimed both at the public and private spheres. Here, there is a mapping of the insertion of sculptural monuments in the urban area of Salvador, such as Castro Alves ¿ work that marked the artist¿s consecration. Parallel to the production of public monuments, Pasquale De Chirico prepared a wide range of records in paper and bronze of "human types", especially of Afro-descendants; they are men and women immersed in their anonymity under academic canons that set an iconography of black people
Mestrado
Politica, Memoria e Cidade
Mestra em História
Caillet, Jean-Pierre. "L'évergétisme monumental chrétien en Italie et à ses marges : d'après l'épigraphie des pavements de mosaïque (IVe-VIIe s.)". Paris 4, 1989. http://www.theses.fr/1988PA040118.
Texto completoMarlier, Thomas. "Tradition grecque et innovation romaine dans l'architecture en Cyrénai͏̈que à l'époque impériale: les monuments publics". Paris 4, 2004. http://www.theses.fr/2004PA040096.
Texto completoWhat is the part of Greek tradition and roman innovation in the architecture of an ancient Greek city during the High Empire ? The case of Cyrene and others cities of the region - Apollonia, Ptolemai͏̈s, Taucheira and Berenike - shows that hellenism and romanity are often joint: the great majority of the buildings preserves Greek techniques of construction, but a great part of news or restored edifices on this period recovers roman types, like the theatres, the temples and the monumental arches. The type of roman theater takes the place of the Greek type, the cyrenaean temples imitate the forms of the roman temple with podium and frontal staircase, the Propylaea evolves to the monumental arch, types completely news as the amphitheatre or the basilica appear, and several monumental complexes adopt a roman configuration: the forum of Cyrene, for example, associates a quadriportico with a temple and a basilica. It is not in the political, demographic or social situation that the explications of the roman innovations will be found. It appears that the conservatism of the manners of construct doesn't explain itself by an inertia of know-how : the craftsmen and the architects reproduce simply their customs by using the technical system which they already know. The roman innovation seems to fall within the scope of a simple fashion where the news architectural types are imitated " to seems roman " without new roman customs corresponding to them ; or, more rarely, by diffusion of roman customs : in this case, new types of buildings are necessary: the apparition of the amphitheatre, for example, explains itself by the diffusion of hunts and gladiators spectacles on this area
Thoraval, Fanch. "Curarum dulce lenimen. Du document musical au monument dévotionnel : Innocentius Dammonis et le Laude libro primo, Venezia, 1508". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040254.
Texto completoThe Laude libro primo is a well known document which has retained scholarship's attention since the beginning of the last century. Quite exceptionally for a collection of polyphonic laude of that period, it contains a repertoire composed by a single musician, a regular canon whose belonging to the congregation of San Salvatore is the only biographical known fact. The compositions by Innocentius Dammonis have been considered a typical product of the musical devotional culture from north-eastern Italy that was intended either for the use of the congregation's members or for that of some venetian confraternities. The observation of the musical, theological and literary culture recorded in this document allows to shed a new light on these laude. The distinction between the responsibility of the printer and the author for its editorial conception makes it possible to understand by which means these laude were intended to be presented. An onomastical study has given some evidence that this musician, who lived in various monasteries of the congregation, was probably born in northern Europe. The Laude libro primo appears to be the product of an individual project, the congregation of San Salvatore being partly its intellectual background, rather than the expression of a local (venetian) tradition. This observation suggests another approach to the canon's compositional choices that are sometimes unusual in that kind of repertoire. They don't seem to be the result of the opposition art/popular music (or its corollary complex/simple) which is the most used analytical framework for the study of polyphonic laude. On the contrary, they appear to serve a devotional project carried out by a specialist (a cleric) who mixes moral arguments with bucolic and petrarchan references
Malone, Hannah Olivia. "Nineteenth-century Italian cemeteries : the social and political basis of funerary architecture". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648217.
Texto completoGomes, Waldemar 1948. "O sepulcro de Julio II, de Michelangelo = o movimento reformador italiano e a definição iconográfica do monumento em San Pietro in Vincoli". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281320.
Texto completoAcompanha volume das figuras
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O sepulcro do Papa Júlio II foi finalizado por Michelangelo em 1545 em San Pietro in Vincoli, em Roma. O projeto final contou com 7 esculturas: 4 do artista e 3 de seus discípulos. Alguns estudiosos têm considerado que ele reuniu esculturas feitas em diversos momentos para se ver livre de uma encomenda que durou 40 anos. As recentes abordagens do significado das esculturas da Vida Ativa e da Vida Contemplativa apontam para a existência de um programa iconográfico definido. Antonio Forcellino afirma que Michelangelo se inspirou no conteúdo do livro Il Beneficio di Cristo para idealizar essas esculturas. Enrico Guidoni diz que o mestre se baseou nas iniciais de Vittoria Colonna e Faustina Mancini para concebê-las. Para Marina Gandini as duas alegorias femininas representam as formas de vida de Moisés, enquanto Maria Forcellino entende que Michelangelo teria tomado Maria Madalena e Santa Caterina como modelo ao criá-las. Quando elaborou essas esculturas, Michelangelo mantinha estreitos laços de amizade com alguns integrantes do movimento reformador italiano e comungava dos mesmos preceitos doutrinários das correntes religiosas dos valdesiani e dos "spirituali" do Circolo di Viterbo. Ao introduzir aquelas duas alegorias no monumento, o artista teria perenizado naqueles mármores a relação entre fé e obras - simbolização daquelas duas formas de vida no mundo cristão -, no tocante à justificação, tal qual essa questão era vista por aqueles reformadores, ou seja, de que apenas a fé detinha o mérito de justificar o pecador diante de Deus, sendo essa fé operadora das boas obras. Ao concebê-las o mestre não teria se baseado em qualquer escrito específico e sim em suas próprias reflexões e conversas mantidas com os interlocutores daquelas correntes sobre a questão da justificação
Abstract: The sepulcher of the pope Jules II was finished by Michelangelo in 1545 at the Church of Saint Peter in Chains, in Rome. The final project counted on 7 sculptures: 4 of them by Michelangelo?s own hands and 3 sculptures made by his assistents. Some Scholars have considered that him assembled sculptures made in different moments of his life to be free of an order that lasted 40 years. The recent approaches on the meaning of the sculptures of Activ Life and Contemplative Life point to the existence of an iconographic programme previously defined by the master. Antonio Forcellino says Michelangelo was inspired by the content of the little book Il Beneficio di Cristo to idealize these sculptures. Enrico Guidoni tells that the master had based on the first letters of the Vittoria Colonna and Faustina Mancini?s names to creat them. To Marina Gandini these sculptures are the two forms of the lives of Moses and for Maria Forcellino Michelangelo took Mary Magdalene and Saint Catherine as models to make them. When he worked on these sculptures Michelangelo had narrow ties of friendship with some persons of the italian reformed movement and communicated some doctrinaire ideals of the religious corrents of the valdesiani and the "spirituali" of the Circle of Viterbo. By introducing that two alegories in that sepulchral monument the artist has immortalized on that marbles the relationship between faith and good works - symbolizations of that two forms of life in the Cristian world -, concerning the justification question, like this question was seen by those reformers, that is to say, that only the faith had the merit to justify the sinner before God, being the good works operated by the faith. In creating them the master did not base in any specific written, but in both his own reflections and the talks he had with the interlocuters of those religious groups on the justification question
Doutorado
Historia da Arte
Doutor em História
Gaier, Martin. "Facciate sacre a scopo profano : Venezia e la politica dei monumenti dal Quattrocento al Settecento /". Venezia : Istituto veneto di scienze, lettere ed arti, 2002. http://catalogue.bnf.fr/ark:/12148/cb401084778.
Texto completoTraduit de l'allemand. Bibliogr. p. 565-588.
Korol, Dieter. "Die Frühchristlichen Wandmalereien aus den Grabbauten in Cimitile-Nola : zur Entstehung und Ikonographie alttestamentlicher Darstellung /". Münster : Aschendorffsche Verlagsbuchhandlung, 1987. http://catalogue.bnf.fr/ark:/12148/cb34943299g.
Texto completoBillard, Alain. "Sismicite et monuments antiques : les ponts et canaux sur les aqueducs romains du bassin méditerranéens". Bordeaux 3, 2006. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2006BOR30005.
Texto completoThe aim of this thesis is to understand how roman architects have conceived canal bridges on aqueducts, to resist to earthquakes and of course to winds. If an architectural model stood out all over the Empire, was often the result of a search of stability against dynamic pressures on these works. Some of them have crossed countries, others have much suffered, from others, nothing but toponymics remains. Beyond anthropic action, why?
Vecco, Marilena. "Évolution économique du concept de conservation". Paris 1, 2005. http://www.theses.fr/2005PA010041.
Texto completoGizzi, Flavia. "Roma vista dai cinesi. La capitale italiana raccontata ai cinesi per i suoi aspetti storici, architettonici e culturali". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16088/.
Texto completoStevanato, Clara. "Sénateurs et mémoire dans l'épigraphie funéraire de l'Italie romaine (Ier siècle av J.-C. - IIIème siècle apr. J.-C.)". Thesis, Paris 1, 2019. https://ecm.univ-paris1.fr/nuxeo/site/esupversions/a5d9b8c3-da77-4075-9d1e-70a19f50d1d1.
Texto completoThe research focuses on the funerary epigraphic documentation intended to commemorate the members of the senatorial class in Roman Italy between late Republic and III-IV century AD. The novelty of the subject lies in the exploration of the "amplissimus ordo " "in death" and in the evaluation of the information potential deriving from the valorization of the burial ground. The study therefore fills a gap in modern doctrine and explores different strands of historical-lexicon, the topography of senatorial properties. The creation of an epigraphic corpus set on a regional basis, which constitutes a new repertory instrument for the scientific community, has been followed by the analysis of the inscriptions composing the catalogue, in order to deepen the emerging thematic elements and provide a framework, at the same time general and particular, of the collected documentation
Fauvinet-Ranson, Valérie. "Les cités d'Italie dans le premier tiers du VIe siècle : patrimoine monumental romain et spectacles d'après les Variae de Cassiodore". Paris 10, 2000. http://www.theses.fr/2000PA100164.
Texto completoBievre-Perrin, Fabien. "Les monuments funéraires de Grande Grèce : recherches sur les marqueurs de tombes du Vème au III ème siècle avant J-C". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20117.
Texto completoSince the scientific value of funerary archaeology has been acknowledged at the end of the XVIIIth century, it has been at the heart of research on Magna Graecia italiot societies. Because they aroused the cultural elite’s admiration, as much as the vases, grave markers from Southern Italia have been at a very early stage brought in European collections and first studied by art historians.Taking into account terminology issues (however modern, the term “marker” remains relevant) and based on a corpus of around 800 markers patiently put together, this study seeks to demonstrate that a methodical and meticulous analysis of the markers helps us to expand our historical knowledge and open new perspectives. These monuments and objects were there to indicate tombs, define the deceased’s new status and pay tribute to him, as well as praise his family in the eyes of the livings. They allow us to see, then, entire parts, which are little known, of the italiot societies and their origins. From the Vth century, when the interactions between Greek and indigenous territories start within the italiot koine, to the IIIrd century B.-C., when the Romans started to settle down in the region, these monuments give useful information about the evolution of local societies. Bringing together the whole range of the available evidence allows us to study important features of the societies: social mutations, communities hierarchy, power claims, relationships between Greek and native people, acculturation process, funerary rites and eschatological beliefs.This dissertation is divided into two volumes, which are to be read in a simultaneous and complementary way. One volume consists of the forms from the database designed for the corpus analysis: nearly 800 entire or fragmentary markers. The other one holds the archaeological and historical analyses. After stating the current status in historiography, etymology and methodology, this study looks into the corpus material, mainly from an archaeological point of view, focusing on contextualization, and sometimes comparing it with iconographic and textual evidence. In two overviews, the analysis then draws conclusions from a typology of the markers, made as methodical and critical as possible. The first one questions the concept of grave marker (why and according to which criteria do the Greeks mark their tombs?), the second one studies how the Mediterranean koinè and italiot melting-pot influenced the Magna Graecia markers, in order to have a better understanding of the acculturation and circulation processes
Schlanger-Merowka, Michèle. "Lieux d'amnésie, d'anamnèse et de mémoire de la deuxième guerre mondiale dans la zone d'occupation italienne : novembre 1942-septembre 1943 : thèse d'anthropologie". Nice, 2001. http://www.theses.fr/2001NICE2037.
Texto completoNeyme, Dorothée. "Décor et architecture des monuments funéraires de la fin du Ier siècle de notre ère à la fin du IIIe siècle à Cumes et en Campanie". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0550.
Texto completoThis doctorate takes as its starting point the discoveries made in the roman necropolis of the Porta Mediana of Cumae (Campania, Italy), where the archaeological excavations made by the Centre Jean Bérard (CJB, 3133-CNRS-EfR) revealed monumental graves from Antonine and Severian times, whose funerary paintings well preserved.These pieces of information were really precious, as being inserted in a pretty well documented archaeological background, giving the chance to reopen the file of funeral painting from imperial ages in Campania, little known, especially because of its chronological position situated in between the vesuvian cities' great discoveries and the christian catacombs' rise, which until recent times have been focusing most of the attentions.After presenting the situation of this corpus disregarded for a long time, this study, based on the new material from Cumae, permitted to define : the chronological frame, the technical and iconographical features, and the link between the decoration and the architecture. Issues reflecting the graves owner ‘s aspirations, by offering a social reading of the age
Neuilly, Elise-Annunziata. "Des Vertus et du roi : relectures d'une iconographie du gouvernement : France-Italie, XIIIe-XVIIe siècles". Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCH041.
Texto completoMy doctoral work in the history of medieval art unfolds from a multistep process. Based on the initial finding pertaining to the pervasive use of an iconography of Virtues in the Middle Ages, something specific emerged: its presence in sites of government, as well as its common association with the powerful, be it in the civic or religious spheres. The powerful encompasses here individuals representing various types of government existing during the medieval era in the western world. These are kings, princes, members of royal families, religious and lay dignitaries, as well as tyrants and, on the other end of the spectrum, representatives of local governments. All these characters are surrounded by imagery, including of Virtues. Virtues are painted on the walls of the physical sites of governance, they are on the pages of manuscripts written for (future) governors, they are incarnated by young girls during large public demonstrations honoring the king.Virtues are also chosen as decoration for the tombs of the kings of France and the princes of the Church, in order to illustrate the Good government held by the deceased. More than ninety such royal and princely tombs showcasing Virtues – mostly cardinals, but not exclusively – are still standing. Many narratives attest to the existence of many more, now destroyed, during the period starting at the end of the 13th century, until the 17th, mostly in France and Italy. As such, over a period of four centuries, an excess of one hundred lay and religious governing individuals were buried in a similar iconographic ensemble, in which Virtues constitute a dominant aspect – as a reminder, the adjective “cardinal” stems from the Latin cardo, the hinge – in the visual vocabulary.Accordingly, this dissertation seeks to demonstrate that the use of Virtues serves the political goal of visual communication set by the sponsor of the art, himself usually in a governing position. I examine the occurrence of Virtues in the specific framework of power, and I demonstrate how Virtues are an integral part of the “vocabulary” of visual discourses of legitimation, self-justification, self-glorification, with the goal of illustrating the reigning Good government. An analysis focused on governing sites allows to establish that the iconographic vocabulary of those in power is shared throughout various European courts, as well as varied types of government, and this, during four centuries
Crisci, Edoardo. "I palinsesti di Grottaferrata : studio codicologico e paleografico /". Napoli : Ed. scientifiche italiane, 1990. http://catalogue.bnf.fr/ark:/12148/cb35689054v.
Texto completoGrimaldi, Mario. "«Des signes de royauté ?» : un examen critique des ensembles funéraires comportant des « marques de pouvoir » dans le monde indigène d’Italie méridionale (VIe s. - IIIes. av. J.-C.)". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100029.
Texto completoMy research aims to examine from the archaeological record organization of power elites indigenous ee of what we might call "signs of royalty" present in Southern Italy in the territories which the Campania, the Sannio, the Lucania (Basilicata ) and essapia (Apulia). Well aware of the great historical problem (for example, the almost total lack of indigenous written sources on the subject) and archaeological (which are actually signs to identify a royalty of meaning Greek and / or how to distinguish them from those rather linked to indigenous world) the This argument has gone thus forming from an idea and the will of Pierre Carlier to analyze and document the archaeological evidence of these manifestations of power that could be recognized as signs of royalty setting them in a specific historical period rich sources of Greek origin but poor in terms of indigenous. His work "The royauté en Grèce avant Alexandre", while analyzing a different social context in a wider span, was the starting point for this research that his intention was to go to complete the geographic landscape also including the south Italy and Magna Grecia. In the remainder of the work, and with the acquisition of the data collected from the various geographical areas considered, we have realized the almost total absence to date of inscriptions, literary sources and whatnot matrix indigenous can refer explicitly to a indigenous royalty, the only statements of fact these elements from a historical point of view, as we shall see, are only of Greek origin
Miele, Angela. "I deambulatori absidali nelle chiese paleocristiane di area italiana: monumenti, radici tipologiche, confronti extra-peninsulari e aspetti funzionali". Tesi di dottorato, 2010. http://www.fedoa.unina.it/8224/1/Miele_angela_23.pdf.
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