Thèses sur le sujet « Castigliano »
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1
Masala, Maurizio. « Il picariglio castigliano di Barezzo Barezzi : una versione seicentesca del Lazarillo de Tormes ». Paris 3, 2003. http://www.theses.fr/2003PA030110.
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Le sujet de la thèse est le Picariglio castigliano : une traduction italienne, par Barezzo Barezzi (Cremona 1560 - Venise 1643) du roman espagnol du seizième siècle Lazarillo de Tormes. Le Picariglio est publié à Venise par le même Barezzi en 1622 et réédité en 1635. Barezzi ajoute au texte original des matériaux de différent genre (nouvelles, sermons, proverbes. . . ) pour l'adapter aux goûts du public italienThe thesis is about the Picariglio castigliano: an Italian translation , by Barezzo Barezzi (Cremona 1560 - Venice 1643) of the sixteenth century Spanish novel Lazarillo de Tormes. The Picariglio is published in Venice by the same Barezzi in 1622 and reprinted in 1635. Barezzi adds plenty of different materials (short stories, sermons, proverbs. . . ) to the original text, in order to adapt it to the Italian literary tradition
2
Ricci, Maria Teresa. « L'homme universel chez Baldassar Castiglione et Baltasar Gracian ». Clermont-Ferrand 2, 2002. http://www.theses.fr/2002CLF20013.
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Au XVIe et au XVIIe siècles, dans plusieurs pays d'Europe, et surtout en Italie, en France et en Espagne, sont écrits de nombreux traités de comportement, qui ont joué un rôle très important dans le développement de la civilisation européenne. Dans notre thèse, nous portons plus particulièrement notre attention sur le célèbre "Libro del Cortegiano" (1528) de B. Castiglione (1478-1529), et sur les écrits de B. Gracian (1601-1658), notamment "El Heroe" (1637), "El Discreto" (1646) et l'"Oraculo manual y arte de prudencia" (1647). Castiglione se proposant de décrire dans son oeuvre la "profession de la courtisanerie", à laquelle se consacrent nombre d'anciens chevaliers, nous induit à considérer l'idéal du "parfait courtisan" tout dabord comme l'expression de l'ancienne noblesse féodale, qui se voit transformer, à partir de la fin du Moyen âge, en une "caste" courtisane. L'idéal de l"homme universel" de Castiglione apparaît alors en ce sens comme l'expression de l'émergence d'un nouveau modèle de comportement social. Le modèle social créé par Gracian s'éloigne du cortegiano. Gracian donne des préceptes pour l'individu qui veut parvenir et se maintenir. A l'homme de cour de Castiglione, qui vit dans un monde enchanté, sous le signe de la "grâce", Gracian oppose l'homme du calcul qui vit dans un monde où homo homini lupus. A l'idéalisme de Castiglione, Gracian opposera le pragmatisme
3
Poschenrieder, Sarah Theresa Verfasser], Kathrin [Akademischer Betreuer] [Gutachter] [Castiglione et Harald [Gutachter] Klein. « Prozess zur skalierbaren Herstellung von Nanokompartimenten aus ABA-Triblock-Copolymeren / Sarah Theresa Poschenrieder ; Gutachter : Kathrin Castiglione, Harald Klein ; Betreuer : Kathrin Castiglione ». München : Universitätsbibliothek der TU München, 2017. http://d-nb.info/1126115754/34.
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Klermund, Ludwig Johann Verfasser], Kathrin [Akademischer Betreuer] [Gutachter] [Castiglione et Dieter [Gutachter] Langosch. « Surface Functionalization of Nano-scale Membrane Reactors for Multienzyme Syntheses / Ludwig Johann Klermund ; Gutachter : Kathrin Castiglione, Dieter Langosch ; Betreuer : Kathrin Castiglione ». München : Universitätsbibliothek der TU München, 2017. http://d-nb.info/1131802373/34.
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5
Schwarzer, Tom Sebastian Verfasser], Kathrin [Akademischer Betreuer] [Gutachter] [Castiglione et Michael [Gutachter] Groll. « Membrane functionalization of nano-scale enzyme membrane reactors for asymmetric syntheses / Tom Sebastian Schwarzer ; Gutachter : Michael Groll, Kathrin Castiglione ; Betreuer : Kathrin Castiglione ». München : Universitätsbibliothek der TU München, 2017. http://d-nb.info/1142376656/34.
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6
Green, Rachel Karen. « Raising the curtain : The countess Virginie de Castiglione and tableau-vivant ». Thesis, University of Leeds, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494239.
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7
Cox, Virginia. « Speaking volumes : the uses of literary dialogue from Castiglione to Tasso ». Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333277.
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Santos, Daniel William da Silva. « Machiavelli e Castiglione : reflexos do Speculum Princeps no apogeu do renascimento ». Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/11823.
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The present research seeks to investigate the disparity reasons that comes out between Il Principe, of Niccolò Machiavelli, and the Book Fourth by Il Cortegiano, of Baldassare Castiglione, which is about the indicated behavior for the governing class that is looking for possession and power exercise; a fact that put such books inside the same literature genres Speculum Princeps. This kind of genre also constitute a object of study through which it s possible to point out the reasons why, even having a common origin, the referred books end different perspectives for giving advices to the governing class. So, this distinction seems to be based on the different interpretations of theoretical elements among those that articulate in Speculum Princeps genre since The Old Age. Therefore, as this research intends to point out, what is created among the thoughts expressed by Machiavelli and Castiglione isn t a rupture, as its particularities would suggest, but a tension, due to the confront that these works allow to see certain contiguity
A presente pesquisa busca investigar as razões das disparidades que afloram do confronto entre Il Principe, de Niccolò Machiavelli, e o Livro Quarto de Il Cortegiano, de Baldassare Castiglione, no que concerne à conduta indicada aos governantes com vistas à posse e exercício do poder; fator em virtude do qual tais obras inscrevem-se igualmente no interior do gênero literário Speculum Princeps. Esse gênero, por seu turno, também constitui objeto de análise, por meio da qual é possível evidenciar as razões pelas quais, mesmo possuindo uma ascendência comum, as referidas obras encerram perspectivas distintas quanto ao aconselhamento dos governantes. Com efeito, tal distinção parece fundar-se nas diferentes interpretações dos elementos teóricos que se articulam na história do gênero Speculum Princeps desde a Antiguidade. Portanto, como o estudo ora empreendido pretende mostrar, o que se engendra entre as reflexões expressas por Machiavelli e Castiglione não é uma ruptura, como suas particularidades poderiam sugerir, senão uma tensão, posto que o cotejo de suas obras permite vislumbrar certa contiguidade
9
VAGNI, GIACOMO. « BALDASSAR CASTIGLIONE - CESARE GONZAGA. Rime e Tirsi. Edizione critica e commentata ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1861.
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Il lavoro si propone di dare l’edizione critica e commentata della produzione poetica volgare di Baldassar Castiglione e Cesare Gonzaga. Esso ricostruisce dettagliatamente la fortuna e la tradizione dei testi, indagando il contesto storico e geografico in cui le liriche dei due mantovani furono diffuse. Sono affrontati problemi attributivi, con l’espunzione di un testo apocrifo assegnato dalla vulgata a Castiglione, e la pubblicazione di diversi inediti. Il corpus totale delle rime extravaganti si attesta così a 32 componimenti, comprese le sei poesie che compongono la piccola silloge dedicata ad Elisabetta Gonzaga dai due cugini. I testi con tradizione multipla sono dotati di due fasce di apparato, di tipo negativo, in cui si raccolgono le varianti di tradizione, rispettivamente sostanziali e grafico-morfologiche. Il commento discute i rari casi in cui è possibile attribuire le varianti redazionali all’autore. Seguono le ottave pastorali del "Tirsi". Il commento ai testi, attraverso il reperimento di modelli e luoghi paralleli, oltre ad illustrare la progressiva adesione alla rigorosa imitazione petrarchesca (da Rvf e Trionfi) proposta dal Bembo, mostra il rapporto dei due autori con la poesia cortigiana contemporanea.The paper aims to give a critical and annotated edition of vernacular poems by Baldassar Castiglione and Cesare Gonzaga. It reconstructs in detail the history of the circulation and tradition of the poems, and it examinates the historical and geographical context in which the texts were copied and spread. Attribution problems are discussed, an apocryphal poem is expunged from Castiglione’s corpus, unpublished texts are published. The whole corpus is composed of 32 texts, including the little collection of six lyric poems dedicated to Elisabetta Gonzaga. The negative apparatus is divided into two parts, where text variants and morphological differences between the witnesses are shown. Lyric poems are followed by the eclogue ‘Tirsi’. A commentary is provided, where models and parallel places are illustrated, aiming to highlight how the two poets pursued a faithful imitation of Petrarch poetry, following Pietro Bembo’s teachings, and showing their debts with the XVth Century court poetry.
10
VAGNI, GIACOMO. « BALDASSAR CASTIGLIONE - CESARE GONZAGA. Rime e Tirsi. Edizione critica e commentata ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1861.
Texte intégralRésumé :
Il lavoro si propone di dare l’edizione critica e commentata della produzione poetica volgare di Baldassar Castiglione e Cesare Gonzaga. Esso ricostruisce dettagliatamente la fortuna e la tradizione dei testi, indagando il contesto storico e geografico in cui le liriche dei due mantovani furono diffuse. Sono affrontati problemi attributivi, con l’espunzione di un testo apocrifo assegnato dalla vulgata a Castiglione, e la pubblicazione di diversi inediti. Il corpus totale delle rime extravaganti si attesta così a 32 componimenti, comprese le sei poesie che compongono la piccola silloge dedicata ad Elisabetta Gonzaga dai due cugini. I testi con tradizione multipla sono dotati di due fasce di apparato, di tipo negativo, in cui si raccolgono le varianti di tradizione, rispettivamente sostanziali e grafico-morfologiche. Il commento discute i rari casi in cui è possibile attribuire le varianti redazionali all’autore. Seguono le ottave pastorali del "Tirsi". Il commento ai testi, attraverso il reperimento di modelli e luoghi paralleli, oltre ad illustrare la progressiva adesione alla rigorosa imitazione petrarchesca (da Rvf e Trionfi) proposta dal Bembo, mostra il rapporto dei due autori con la poesia cortigiana contemporanea.The paper aims to give a critical and annotated edition of vernacular poems by Baldassar Castiglione and Cesare Gonzaga. It reconstructs in detail the history of the circulation and tradition of the poems, and it examinates the historical and geographical context in which the texts were copied and spread. Attribution problems are discussed, an apocryphal poem is expunged from Castiglione’s corpus, unpublished texts are published. The whole corpus is composed of 32 texts, including the little collection of six lyric poems dedicated to Elisabetta Gonzaga. The negative apparatus is divided into two parts, where text variants and morphological differences between the witnesses are shown. Lyric poems are followed by the eclogue ‘Tirsi’. A commentary is provided, where models and parallel places are illustrated, aiming to highlight how the two poets pursued a faithful imitation of Petrarch poetry, following Pietro Bembo’s teachings, and showing their debts with the XVth Century court poetry.
11
Turroni, Gianmarco. « Studi e strategie per la valorizzazione del sito di Castiglione a Forli ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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La località di Castiglione (FC), anche a seguito del ritrovamento di “grotte rifugio” che risalgono alla seconda guerra mondiale, ha offerto molti spunti progettuali al fine di ridare vitalità ad una area ad oggi non valorizzata. Sin da subito si è reso necessario lo svolgimento di approfondite analisi sul territorio e di interviste ai suoi abitanti che hanno reso espliciti i loro desideri inerenti alla trasformazione di quel luogo. Questo studio propone una soluzione mirata a risolvere le problematiche presenti, integrandosi all'interno di un progetto più ampio già avviato dalla Regione Emilia Romagna e promosso dall'Associazione Amici di Castiglione.
12
Musillo, Marco. « Bridging Europe and China : the professional life of Giuseppe Castiglione (1688-1766) ». Thesis, University of East Anglia, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432448.
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13
BONAITI, MARIA. « Il Vecchietta e la chiesa di Villa a Castiglione Olona 1431-1444 ». Doctoral thesis, Università IUAV di Venezia, 1997. http://hdl.handle.net/11578/278388.
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14
Oldrini, Eleonora <1988>. « Sound Art per il Borgo di Castiglione Olona : un progetto di valorizzazione ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3860.
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La tesi tratta la progettazione di una mostra di Sound Art inserita nel borgo di Castiglione Olona, un affascinante sito medioevale a pochi passi dalla città di Varese.
Le opere sono collocate nei punti cruciali del sito. Esse si pongono in relazione al contesto e ne concorrono alla sua valorizzazione: la contaminazione sensoriale determina nuovi scenari, nuove visioni e quindi nuove memorie che si aggiungono alla conoscenza consolidata del luogo.
Il sito diventa quindi cornice di un evento che verrà ad assumere nuove connotazioni.
L’elaborato sviluppa le questioni tecniche e gestionali del progetto ed è affiancato da approfondimenti circa la storia del borgo e il fenomeno della Sound Art.
15
Sabitt, Claire. « Wearing the Hat of an Other : Alterity and Self-Fashioning in Giovanni Benedetto Castiglione's Oriental Heads ». Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20673.
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In the late 1640s, Giovanni Benedetto Castiglione produced two series of etchings, which historians have named his Oriental Heads, depicting a variety of figures in exotic headgear. The persistence of Oriental headdresses throughout the series suggests a pervasive interest in costume on the part of both Castiglione and his society. In the seventeenth-century Western European imagination, the turbaned figure represented the epitome of alterity: the Ottoman Turk. Signed “CASTIGLIONE, GENOVESE,” the etchings reveal the artist’s important Genoese origins as a part of his artistic identity. Castiglione’s eccentric tendencies, especially in his own personal mode of dress, coupled with the prevalence of exotic costume in the Oriental Heads speaks to the artist’s self-fashioned image as a fashionable, yet controversial eccentric persona. These etchings were tools to attract potential patrons, encourage buyers to purchase the etchings, and above all, to fashion his artistic identity in the international art center of Rome.
16
Nenci, Marco. « Analisi Geologico-Tecnica e modellazione numerica della colata di detrito di Serraglio (Castiglione dei Pepoli) ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10155/.
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Le colate detritiche sono manifestazioni parossistiche con trasporto impulsivo di sedimenti lungo la rete idrografica minore che presentano un elevato potere distruttivo.
In questo lavoro di tesi si è cercato di descrivere inizialmente le caratteristiche tipiche delle colate di detrito, e le condizioni climatiche e geomorfologiche che tendono a favorirne l’innesco.
Verranno poi analizzati, i casi relativi all’Appennino bolognese, prendendo come riferimento le colate rapide di detrito avvenute in località Serraglio (Baragazza) nei pressi del comune di Castiglione dei Pepoli.
Nello specifico verrà indagato il fenomeno avvenuto il 31/01/2014, per il quale sono stati effettuati numerosi rilievi morfometrici che hanno portato ad individuare una geometria di dettaglio del canale di flusso e della nicchia di frana, per poter ricostruire i volumi di materiale mobilizzato.
In contemporanea alle misure morfometriche si sono effettuate delle indagini sismiche volte a stimare lo spessore della coltre di alterazione presente all’interno del canale prima dell’evento, e a monte della nicchia di frana.
Successivamente si è cercato di correlare le misure H/V con le prove MASW effettuate ,senza successo, ciò è probabilmente dovuto dalla difficoltà di indagare spessori così
sottili con le MASW.
Perciò utilizzando le indagini H/V si è tentato di ricostruire il modello geologico – tecnico alla scala del versante.
Infine si è cercato di modellizzare il fenomeno utilizzando il software Dan-W con il quale si sono testati vari modelli reologici fra i quali si sono dimostrati più realistici, in riferimento al caso in esame, il modello frizionale ed il modello di Voellmy.
Per questi due modelli è stata quindi effettuata la calibrazione dei parametri, in riferimento dei quali si è visto che, con il modello di Voellmy si è ottenuto un buon valore della distanza percorsa dalla colata, ma una stima delle velocità abbastanza elevate.
Il modello frizionale invece ha portato ad una buona stima degli spessori dei depositi, ma sottostimando la distanza che avrebbe potuto percorrere la colata se non avesse incontrato ostacoli.
17
Southwick, Margaret Ann. « Paragon/Paragone : Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano ». VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1547.
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This thesis argues that Raphael's portrait, Baldassare Castiglione, is three portraits in one: 1) a "speaking likeness" of the subject, 2) a portrait of the "perfect" courtier, and 3) a "shadow" portrait of the Court of Urbino in the early sixteenth century. The formal analysis of the painting is presented in the context of the paragone of word and image expounded by its subject in his masterpiece, Il Cortegiano. Both author and artist demonstrate the concepts of sprezzatura (an artful artlessness) and grazia (graceful elegance) in the creation of their portraits, as well as avoidance of affetazione (affectation). It is concluded that Raphael's response to the challenge of the text/image paragone in Il Cortegiano determined the formal choices he made as he painted his friend Baldassare Castiglione.
18
Chen, Weiyi. « L'hétérogénéisation et l'altérité : Guo Xi, Giuseppe Castiglione et Xu Baihong. Ou la modification dans la peinture chinoise ». Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7007.
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Les images, les peintures montrent davantage ce qu’il y a d’inattendu, de surprenant dans la pensée de l’autre, elles nous aident à voir et à comprendre l’altérité. Cette recherche se présente comme une rétrospective de la transformation de la pensée chinoise à travers les œuvres de trois peintres qui sembleraient marquer des jalons dans l’histoire d’une rencontre avec l’autre : Guo Xi, Giuseppe Castiglione et Xu Beihong. Les œuvres nous serviront d’appui pour discuter sur la culture et sa transformation. Dans ce sens Guo Xi nous permettra de discuter sur l’altérité de la peinture et la pensée chinoises, Giuseppe Castiglione et Xu Beihong nous aideront à montrer comment la peinture européenne, qui est un autre pour la Chine, a transformé le champ visuel en Chine. Pourtant, une rétrospective est inévitablement anachronique : en essayant de situer les peintres dans leur époque, nous les voyons toujours à partir de la situation actuelle. Mais cet anachronisme fait en même temps tout l’intérêt d’une recherche qui a pour objectif de décrire la rencontre, l’hétérogénéisation et la globalisation comme un processus dans la durée. L’hétérogénéisation est comprise comme un enrichissement incessant au sein de la culture et la globalisation est comprise comme un processus où les cultures, chinoise et européenne, se trouvent en confrontation l’une avec l’autre. Ces deux termes sont les facettes de la rencontre entre la Chine et l’Occident, qui a marqué profondément l’histoire moderne et qui est toujours en train de se réaliser. L’objectif de ce travail est de montrer par où la Chine entre dans ce processus de la globalisation et de montrer l’issue intermédiaire de la confrontation de la peinture chinoise avec la peinture européenneThe images, paintings show what is unexpected, surprising in the thought of the other, they help us to see and understand otherness. This research presents itself as a retrospective of the transformation of the Chinese thought through the works of three painters who seem to mark milestones in the history of encountering with the other: Guo Xi, Giuseppe Castiglione and Xu Beihong. The artworks serve as support for the discussion of culture and its transformation. In this sense Guo Xi will allow us to discuss the otherness of the Chinese painting and thought, Giuseppe Castiglione and Xu Beihong will help us to show how the European painting, which is the other for China, has transformed the visual field in China. However, a retrospective is inevitably anachronistic: by trying to locate painters in their own context, we always see them from the current situation. But this anachronism is at the same time the very point of interest of the research that aims to describe the encounter, heterogenization and globalisation as a long-term process. Heterogenization is understood as an enrichment of culture and globalisation is understood as a process in which cultures, Chinese and European, are in confrontation with one another. These two terms are the facets of the encounter between China and the West, which has profoundly affected modern history and is still ongoing. The objective of this work is to show where China is entering this process of globalisation and show the intermediate outcome of the confrontation of the Chinese painting with the European painting
19
Del, Popolo Martina. « Il patrimonio reginale di Isabella di Castiglia. Le signorie urbane di Sicilia e Catalogna (1470-1504) ». Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671877.
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La tesi ricostruisce le signorie urbane concesse nel 1470 a Isabella di Castiglia in Sicilia e Catalogna, in quanto regina consorte d'Aragona, ovvero Siracusa, Lentini, Francavilla, Mineo, Vizzini, San Filippo, Tàrrega, Vilagrassa e Sabadell. Questo patrimonio era una base di potere molto importante per corroborare il suo status, retribuire i suoi ufficiali e aumentare il prestigio del suo entourage. La ricerca analizza l'amministrazione politica ed economica della signoria reginale, soprattutto le prerogative che la sovrana esercitava su questa giurisdizione e i diritti mantenuti dal re e dai municipi. La tesi delinea le differenti forme in cui si è impiantato il gruppo di ufficiali e le diverse strategie di promozione sociale perseguite dalle classi dirigenti locali. In ultima istanza, il volume presenta la trascrizione dei privilegi ufficiali di donazione e di un registro conservato nell'Archivio della Corona d'Aragona, dato che al giorno d'oggi è l'unico proveniente dalla cancelleria propria della regina.The thesis reconstructs the urban manor of Sicily and Catalonia granted in 1470 to Isabel de Castilla as queen consort of Aragon, that is Siracusa, Lentini, Francavilla, Mineo, Vizzini, San Filippo, Tàrrega, Vilagrassa and Sabadell. This patrimony was a very important base of power to corroborate her status, reward her officers and increase the prestige of her entourage. The research analyzes the political and economic administration of the reginal manor, especially the rights the queen had in her jurisdiction and those maintained by the king and the municipalities. The thesis outlines the ways in which the class of officers has been implemented and the different social promotion strategies pursued by the local ruling classes. Finally, the book presents the transcription of the official charters of donation and of a record kept in the Archives of the Crown of Aragon, since today it is the only one made in the queen's chancery.
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Karlsson, Johanna. « En skön själ i en kontrollerad kropp : ideal och dygd i porträtt av svenska kungligheter i ljuset av Castigliones Il Cortegiano ». Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1967.
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In Italy in 1528 the famous author Baldassare Castiglione published the book Il Cortegiano. In words Castiglione portraits the ideal courtiers and provides a lot of advice on how to achieve the ultimate courtier manner. For example he introduces and explains the words sprezzatura and grazia. His advice spread from Italy and influenced the courts around Europe. My purpose with this study has been two folded. Firstly, I have analysed Castigliones Il Cortegiano in order to examine his vision of virtues and ideals. Castiglione’s advice on the perfect courtier is several and the book is quite extensive. In order to make his advice clear I have arranged these under five headings: noble birth, ideals of a gentleman, beautiful character, warlike virtues and book learning. Furthermore, I have analysed four portraits of Swedish rulers. The portraits are as follows: Johan Baptista van Uther’s portrait of Johan III produced in 1582, Matthaeus Merian’s picture of Gustav II Adolf from 1632, David Beck’s portrait of queen Kristina produced in 1650 and finally David Klöcker Ehrenstrahl’s portrait of the riding Karl XI from 1682. Finally, I have applied Castiglione’s advice on the portraits in order to study how well they conform. The study has shown that many of the ideal and virtues emphasized by Castiglione are similar to many of those highlighted in the portraits. The idea of a beautiful soul in a controlled body seems to run like a thread through the selected portraits as well as in Castiglione’s advice on how to be an ideal courtier. In conclusion, many of the ideals stressed by Castiglione in sixteenth century Italy also inspired Swedish sovereigns. His advice also seems to have survived in the seventeenth century, if nonetheless in other forms.
21
FIORE, ANNA MARIA. « La monumentalizzazione dei luoghi teatro della grande guerra : i sacrari di Giovanni Greppi e di Giannino Castiglioni (1933-1941) ». Doctoral thesis, Università IUAV di Venezia, 2001. http://hdl.handle.net/11578/278447.
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Costa, Daniela. « La réception française du Courtisan au XVIe siècle ». Reims, 2001. http://www.theses.fr/2000REIML011.
Texte intégralRésumé :
Cette thèse étudie le rôle du courtisan de Baldassarre Castiglione dans le cadre de la culture de cour française, par l'analyse des réactions des français a la lecture de cet ouvrage, elle se propose de comprendre les modalités par lesquelles le courtisan reçût en France de nouvelles significations et contribua à l'élaboration d'un code social et littéraire national. Apres une mise à point préliminaire de la critique sur l'œuvre de Castiglione et sur les notions d'italianisme", de "fortune" et d'"influence", le premier chapitre propose une nouvelle interprétation de la question de la dédicace du courtisan a François Ier. Les chapitres deuxième et troisième présentent la question des différentes traductions françaises du courtisan et de leur attribution, en examinant les manuscrits et les éditions françaises de l'œuvre dans le cadre éditorial de l'époque. Les chapitres quatrième et cinquième visent a illustrer, d'un point de vue inédit, la réception française du courtisan, notamment du troisième livre, dans les œuvres de la "querelle des amyes" et dans celles de Pasquier et de Tahureau. Cette analyse révèle que l'œuvre italienne représente pour les français un exemplum de conversation galante, dans le cadre de l'élaboration d'un modèle social rhétorique et stylistique entièrement français. Le dernier chapitre concerne (dans les œuvres de Philibert de vienne, Tahureau, Gabriel Chappuys, le Caron, Pasquier, Estienne, la taille, gentillet) la réflexion française sur le portrait social et moral du courtisan, ainsi que la réception de l'idéal politique de Castiglione dans le cadre d'une théorie française du pouvoir, et, enfin, la lecture de l'œuvre italienne en clé nationaliste à l'époque des guerres civiles.
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TUMMINELLI, MARIA GLORIA. « Gli zingari nel sistema imperiale spagnolo. Soldati, banditi e vagabondi tra Milano, Napoli e la Castiglia (secc. XVI-XVII) ». Doctoral thesis, Università degli studi di Pavia, 2019. http://hdl.handle.net/11571/1286331.
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Wagner, Sabine Gabriele [Verfasser], Andreas [Akademischer Betreuer] Kremling, Andreas [Gutachter] Kremling et Kathrin [Gutachter] Castiglione. « Systematische Analyse der heterologen Expression in Escherichia coli / Sabine Gabriele Wagner ; Gutachter : Andreas Kremling, Kathrin Castiglione ; Betreuer : Andreas Kremling ». München : Universitätsbibliothek der TU München, 2019. http://d-nb.info/1201482437/34.
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VILLA, VIVIANA FRANCESCA. « SULLE ORME DEL 'CORTEGIANO'. IL 'SAVIO IN CORTE' NELLA TRATTATISTICA DEI SECOLI XVI-XVII ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39110.
Texte intégralRésumé :
"Il Libro del Cortegiano" di Baldassarre Castiglione, a stampa nel 1528, costituisce l’archetipo di una florida tradizione: numerosi i trattati e i dialoghi che, dopo il 1528, mettono a fuoco qualità e prerogative richieste a corte, confutando oppure corroborando il modello delineato nel classico cinquecentesco. La dissertazione intende vagliare l’eredità dell’opera di Castiglione isolando alcuni temi rintracciabili in contributi pubblicati in volgare dopo il 1528 e sino al 1640; fra gli autori considerati spiccano Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo e Francesco Baldelli (volgarizzatore dell’opera latina di Nifo), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini ed Agostino Mascardi, senza dimenticare i più celebri Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. Le proposte di questi autori sono state accostate ed intrecciate alla voce di Castiglione nei primi tre capitoli della tesi, suggellata da una appendice che presenta e riproduce l’inedito "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte" di Camillo Baldi, custodito presso la Biblioteca Classense di Ravenna.Baldassarre Castiglione’s "Libro del Cortegiano", printed in 1528, represents the archetype of a flourishing written tradition: refuting or corroborating the model drafted in the sixteenth-century masterpiece, many essays and dialogues published after 1528 have focused on qualities and prerogatives required at court. The present thesis aims at sifting through Castiglione’s heritage, selecting themes and topics from some works printed in Italian between 1528 and 1640; the authors of the books examined are Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo (his essay, first published in Latin, was translated by Francesco Baldelli), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini and Agostino Mascardi, not forgetting the more famous Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. These authors’ proposals have been compared with Castiglione’s ideas in the first three chapters of the thesis, which is completed by an appendix that reproduces and analyzes Camillo Baldi’s "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte", an unpublished work located at the Biblioteca Classense of Ravenna.
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VILLA, VIVIANA FRANCESCA. « SULLE ORME DEL 'CORTEGIANO'. IL 'SAVIO IN CORTE' NELLA TRATTATISTICA DEI SECOLI XVI-XVII ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39110.
Texte intégralRésumé :
"Il Libro del Cortegiano" di Baldassarre Castiglione, a stampa nel 1528, costituisce l’archetipo di una florida tradizione: numerosi i trattati e i dialoghi che, dopo il 1528, mettono a fuoco qualità e prerogative richieste a corte, confutando oppure corroborando il modello delineato nel classico cinquecentesco. La dissertazione intende vagliare l’eredità dell’opera di Castiglione isolando alcuni temi rintracciabili in contributi pubblicati in volgare dopo il 1528 e sino al 1640; fra gli autori considerati spiccano Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo e Francesco Baldelli (volgarizzatore dell’opera latina di Nifo), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini ed Agostino Mascardi, senza dimenticare i più celebri Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. Le proposte di questi autori sono state accostate ed intrecciate alla voce di Castiglione nei primi tre capitoli della tesi, suggellata da una appendice che presenta e riproduce l’inedito "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte" di Camillo Baldi, custodito presso la Biblioteca Classense di Ravenna.Baldassarre Castiglione’s "Libro del Cortegiano", printed in 1528, represents the archetype of a flourishing written tradition: refuting or corroborating the model drafted in the sixteenth-century masterpiece, many essays and dialogues published after 1528 have focused on qualities and prerogatives required at court. The present thesis aims at sifting through Castiglione’s heritage, selecting themes and topics from some works printed in Italian between 1528 and 1640; the authors of the books examined are Pelegro de Grimaldi, Lucio Paolo Rosello, Giovanni Francesco Commendone, Agostino Nifo (his essay, first published in Latin, was translated by Francesco Baldelli), Giovanni Andrea Gilio, Giovan Battista Giraldi, Lorenzo Ducci, Sigismondo Sigismondi, Pietro Andrea Canonieri, Giovanni Capponi, Bernardino Castori, Camillo Baldi, Matteo Peregrini, Giovanni Battista Manzini and Agostino Mascardi, not forgetting the more famous Stefano Guazzo, Giovanni Della Casa, Torquato Tasso. These authors’ proposals have been compared with Castiglione’s ideas in the first three chapters of the thesis, which is completed by an appendix that reproduces and analyzes Camillo Baldi’s "Dialogo di quello che deve fare un servitore di corte per acquistare la grazia del suo signore e farsi amare da tutto il resto della corte", an unpublished work located at the Biblioteca Classense of Ravenna.
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Di, Teodoro Francesco Paolo Thoenes Christof Dalai Emiliani Marisa. « Raffaello, Baldassar Castiglione e la lettera a Leone X : "...con lo aiutto tuo mi sforcerò vendicare dalla morte quel poco che resta... / ». San Giorgio di Piano : Minerva, 2003. http://catalogue.bnf.fr/ark:/12148/cb390730103.
Texte intégralRésumé :
Texte remanié de: Tesi dott.--Facoltà d'architettura--Politecnico di Torino, 1993.Contient les trois versions de la "Lettera a Leone X" attribuée à Raphaël et à Baldassare Castiglione. La page d'avant-titre porte : Accademia Clementina. Bibliogr. p. 297-326. Index.
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Métaux, Sandra. « La désinvolture : Esthétique et éthique de l'art (de vivre) postmoderne. L'art contemporain italien au regard de la "Sprezzata desinvoltura" de Baldassar Castiglione ». Thesis, Pau, 2012. http://www.theses.fr/2012PAUU1001/document.
Texte intégralRésumé :
L’Italie, berceau de la sprezzata desinvoltura de Castiglione, est assurément le pays où l’ambiguïté des relations entre art, politique et images médiatiques est la plus forte. Le pavillon Italien des biennales de Venise de 2009 et 2011 illustre ce jeu complexe des apparences, qui « fait des mondes » ou « illumine des nations ». En relisant l’histoire de l’art à travers le prisme du concept de Castiglione, la thèse nous donne à voir que le monde (de l’art) est lui-même l’effet de l’ambivalence de cette désinvolture. Loin d’avoir assujetti l’art à leurs concepts, les grands hommes, qu’ils soient rois, philosophes ou hommes d’affaires seraient des effets de cette désinvolture de l’art. Comme Monsieur Jourdain, ils feraient de l’art sans le savoir. Exit Machiavel ! Il est aujourd’hui urgent de penser cette « ruse de l’art » qui mène le monde. Tel est l’enjeu fondamental de cette thèse qui, s’appuyant sur le schème nietzschéen de l’éternel retour, distingue plusieurs figures de la désinvolture, historiques, philosophiques et esthétiquesItaly, the cradle of Castiglione’s sprezzata desinvoltura, is undoubtedly the country where the ambiguous relationship between art, politics and media is the strongest. The Italian pavilion of the Venice Biennale in 2009 and 2011 illustrates the complex game of appearances, which are “making worlds" or "lighting up nations." Reading again the history of art through the prism of Castiglione’s concept, the thesis shows us that the world (of art) is itself the effect of this “disinvoltura” ambivalence. Far from having subjugate art to their concepts, the great men, whether kings, philosophers or businessmen are the effects of this casualness (“desinvoltura”) of art. Like Monsieur Jourdain, they would make art without knowing it. Exit Machiavelli! It is now urgent to think this "ruse of art" that leads the world. These are the fundamental stakes of this thesis, that basing itself on the Nietzschean eternal return schema, distinguishes several casualness figures, historical, philosophical and aesthetic
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Mähler, Christoph [Verfasser], Dirk [Akademischer Betreuer] Weuster-Botz, Kathrin [Gutachter] Castiglione, Dirk [Gutachter] Weuster-Botz et Johannes [Gutachter] Buchner. « Gestaltung des Cosubstrat-Bindeverhaltens von Enreduktasen für asymmetrische Synthesen / Christoph Mähler ; Gutachter : Kathrin Castiglione, Dirk Weuster-Botz, Johannes Buchner ; Betreuer : Dirk Weuster-Botz ». München : Universitätsbibliothek der TU München, 2019. http://d-nb.info/1200098978/34.
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Souza, Maria Luiza Zanatta de. « Carta de Rafael Sanzio - Castiglione ao Papa Leão X e sua importância para o estudo da arquitetura e do urbanismo do período do renascimento ». Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-13072010-094028/.
Texte intégralRésumé :
Esta dissertação de mestrado se propõe a apresentar um estudo sobre o texto conhecido como Carta de Rafael -Castiglione a Leão X e suas implicações. Durante três anos tivemos a oportunidade e o prazer de recolher, junto ao Professor Dr. Luciano Migliaccio, uma série preciosa de textos que tinham por objeto de estudo a chamada Carta a Leão X. Segundo Christof Thoenes, a Carta constitui o prefácio em forma de dedicatória de uma Planta de Roma elaborada por Rafael, isto é, um corpus de levantamentos e de reconstruções gráficas dos edifícios da Roma antiga. A sua autoria nos leva aos maiores nomes do Renascimento italiano, uma vez que o documento é de grande interesse para muitos campos diferentes como os da história da arquitetura e da urbanística, da história das teorias e da didática da arquitetura, da história do desenho arquitetônico, seja no sentido técnico-prático (por exemplo, o emprego da bússola no levantamento dos edifícios) seja no teórico (o problema da representação sobre o plano dos objetos tridimensionais), mas também da história dos estudos antiquários e da arqueologia. Além disso, trata-se de um documento fundamental dentro do programa político do Papado de Leão X no inicio do Cinqüecento. Este texto, encontrado em três versões, foi exaustivamente estudado, permitindo várias leituras, e depois da publicação de Francesco Di Teodoro, teve a questão da datação e autoria praticamente esclarecidas. Quanto à autoria, trata -se de um produto coletivo, pois a carta foi escrita em nome de Rafael mas o rascunho é da mão de Baldassare Castiglione, assim como o estilo e também grande parte dos pensamentos expressos no texto sobre a antiguidade, sobre os monumentos, sua tutela e sua história. A nós foi de grande interesse compreender que a Carta seria o prefácio de um projeto ainda maior do papa Leão X que pretendia, através do trabalho de Rafael e do desenvolvimento das técnicas de ilustração e da gravura, apresentar a Roma antiga em um livro ilustrado, isto é , um Atlas da cidade. Essa propaganda ao mundo da imagem da Roma Imperial como sede legítima da Igreja estaria, portanto, associada à valorização do papel de Leão X na tutela dos monumentos antigos; no entanto , isto não deve ser interpretado como uma reconstrução material dos edifícios, mas uma proposta de conservá -los na memória por meio de uma reconstrução gráfica, antes do seu total desaparecimento.The purpose of this dissertation is to present a study about the text kn own as Letter of Rafael - Castiglione to Pope Leo X and its implications. During three years, we have had the pleasure and opportunity to obtain from Professor Luciano Migliaccio a series of precious texts which had the objective of studying the so calle d Letter of Leo X. According to Christof Thoenes, the letter establishes a preface, in the form of a dedication of a Blueprint of Rome , elaborated by Rafael. That is, a corpus of settings and graphic reconstruction of the buildings of ancient Rome. His authorship takes us to the greatest names of the Italian Renaissance, once the document is of great interest to various fields, such as, history of architecture, urbanism, the history of the theories and didactics of architecture and the history of architectural design, whether in a technical -practical manner (the use of the compass, for instance, in constructing buildings), or in theory (the significance of three dimensional objects in the plan), as well as the history of antiquary and archeological stud ies. In addition to this, the document is fundamental inside the political program of the papacy of Pope Leo X, in the beginning of the XVI th century. This text, which can be found in three versions, was studied exhaustively, enabling various readings and, after the publication of Francesco Di Teodoro, it had its dating and paternity practically clarified. As for the paternity, the letter was signed in name of Rafael, however it is the result of a collective job the draft, the style, along with a great deal of the thoughts expressed about antiquity, the monuments, their custody and history, were the work of Baldassare Castiglione. It was of great interest to us to comprehend that this letter was the preface of an even greater project of Pope Leo X who inten ded, through the work of Rafael and the development of illustration and engraving techniques, to present ancient Rome in an illustrated book, that is, a map of the city. This advertisement to the world of the image of Imperial Rome as the legitimate headquarters of the church would therefore be associated to the valorization of the role of Pope Leo X as tutor of ancient monuments. However, this should not be interpreted as a material reconstruction of the buildings, but as a proposal to maintain their memor y by means of graphic reconstruction, before their complete disappearance.
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GIOVANNINI, FABIO. « Archeologia e storia della Val di Chiana. Dinamiche insediative e strutture di potere tra X e XV secolo nella Toscana orientale ». Doctoral thesis, Università di Foggia, 2016. http://hdl.handle.net/11369/353980.
Texte intégralRésumé :
Lo studio delle forme insediative del mondo rurale del pieno medioevo è motivato dalla forte incidenza che questa tematica ha sulla storia del medioevo ed è ulteriormente giustificato dalla complessità delle sue implicazioni sotto il profilo della strutturazione dei paesaggi e delle vicende socio-economiche e politico-giuridiche. La ricerca scientifica sia di ambito storico che archeologico è ormai in possesso di una notevole quantità di dati anche per i secoli X-XV, fonti che parlano talvolta linguaggi differenti e spesso anche discordi, ma che consentono di confrontarsi sulle differenti tematiche del dibattito storiografico medievale.
La progettazione di questo elaborato nasce con l'intento di offrire una nuova riflessione sull'insediamento e l'organizzazione dello spazio rurale di una peculiare area geopolitica della Toscana, senza tuttavia alcuna pretesa di completezza. L'auspicio è quello di mettere a disposizione un valido elemento di comparazione, un nuovo contributo per il dibattito archeologico.The study of settlement patterns of the rural world of the Middle Ages is motivated by the strong impact that this issue has on the history of the Middle Ages and It is further justified by the complexity of its implications in terms of the structuring of landscapes and socio - economic and political cases. The scientific research, historical and archeological, is now in possession of a significant amount of data even for X - XV centuries, sources who sometimes speak different languages , but that they can help to discuss the different themes of the debate medieval historiography. The planning of this work is to offer a new reflection on the setting and the organization of rural areas of a particular geopolitical district of Tuscany, without any claim to completeness. The hope is to make available a valid element of comparison, a new contribution to the archaeological debate.
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LUCIDI, DAVID. « Artisti fiorentini nei Regni di Castiglia e di Aragona nella prima metà del Quattrocento. Maestri e opere lungo le rotte mercantili del Mediterraneo occidentale ». Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/971471.
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Nilsson, Amanda. « Imitation & ; Sprezzatura : En komparativ studie av Machiavellis furstespegel och Castigliones hovmannaideal speglade i fyra porträtt av Cosimo I de' Medici och Eleonora di Toledo ». Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157540.
Texte intégralRésumé :
Följande uppsats behandlar fyra hovporträtt av konstnären Bronzino föreställande fursteparet Cosimo I de’ Medici och Eleonora di Toledo speglade mot de litterära källorna Machiavellis Fursten och Castigliones Boken om hovmannen. Uppsatsen empiriska material kommer således att bestå av ovanstående material placeras framför varandra för att belysa dess beröringspunkter, både i fråga om likheter och olikheter. Analysens teoriangrepp kommer med avstamp i Roland Barthes semiotiska bildanalys att närma sig porträttens denotativa men främst konnotativa uttryck. Vidare har Shearer Wests bok Portraiture använts för förståelsen kring porträttet som genre i dess historiska kontext. Undersökningens disposition består av två huvudrubriker varav den första behandlar den historiska kontexten och den sista delen själva bildanalyserna. Resultatet visar på att samtliga porträtt av Cosimo och Eleonora finner flera beröringspunkter i Machiavellis furstespegel som Castigliones hovmannaideal, men skiljer sig delvis beroende på porträtt. Vidare har undersökningen visat på att Cosimo i sina två utvalda statsporträtt – valde att i det senare gestalta sig själv i en måttfullare stil – inte helt olik den måttfullhet som skildras i såväl Castigliones litterära verk som visuella porträtt. Cosimos tidigare porträtt svarar dock bättre mot Machiavellis idé om imitering. De två porträtten av Eleonora finner även dom olika samband med textmaterial och där Eleonoras senare statsporträtt tycks besitta flera av hertiginnans drag – något som inte med samma tydlighet framträder i det tidigare porträttet. Gemensamt för alla porträtt är deras avsaknad av sprezzatura som den allra viktigaste egenskapen för en person vid hovet.
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Lelong, Frédéric. « Descartes et la question de la civilité : la philosophie de l'honnête homme ». Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010707/document.
Texte intégralRésumé :
Ce travail porte sur la relation entre la philosophie de Descartes et la thématique humaniste de la civilité et de l’honnêteté. Une première étape de la thèse consiste en une réévaluation philosophique du concept de civilité à partir de son histoire antique et humaniste. Cette réévaluation repose sur deux axes principaux : mettre au jour les fondations métaphysiques de cette notion et le mouvement d’une intériorisation des normes civiles dans la conception de l’âme vertueuse. Il s’agit ensuite de comprendre la présence dans la pensée cartésienne de valeurs qui ne coïcident pas avec la conception habituelle de la justification rationnelle, comme la douceur, le naturel, la grâce et la convenance, et qui renvoient à la thématique de la civilité. La civilité est une perfection qui évite deux extrêmes, la barbarie et la sauvagerie, c’est-à-dire la violence excessive de la norme, et la violence d’une nature brute laissée à elle-même. Ce travail montre que la conception cartésienne de la rationalité et de la vertu morale tend également à éviter ces deux excès. D’autre part, en rattachant la philosophie de Descartes à la question de la civilité, il s’agit aussi de contester la conception solipsiste du sujet cartésien et de réhabiliter la dimension de l’extériorité dans l’appréhension de la subjectivité. La figure cartésienne du sujet moderne prend dès lors une dimension humaine et sociale au lieu de renvoyer à une dangereuse hybris de l’ego, tandis que la raison cartésienne est pensée comme civile et ouverte, non pas autoritaire ou répressive. Pour étayer cette thèse, ce travail aborde certaines tonalités éthiques du discours cartésien qui ne correspondent pas nécessairement à l’expression d’une thèse explicite mais qui éclairent la richesse et la complexité du texteThis work focuses on the relation between Descartes’ philosophy and the humanist themes of civility and honesty. A first step in this thesis is to philosophically reevaluate the concept of civility by focusing on its history within antiquity and humanism. Such a reevaluation bears on two main approaches: one is to demonstrate the metaphysical foundations of this notion, the other is to show the movement towards the internalization of civil norms in the conception of the virtuous soul. Our aim is then to show the presence, in Cartesian thought, of such values as gentleness, “naturel”, grace or “convenance”, which do not coincide with the common conception of rational justification, and which all trace back to the thematic field of civility. Civility is a perfection that avoids two extremes, barbarism and savagery, i. e. both the excessive violence of the norm and the violence stemming from a brute nature left to itself. On the other land, by linking Descartes’ philosophy to the question of civility, our aim is also to oppose the solipsistic conception of the Cartesian subject and to rehabilitate the dimension of exteriority within the comprehension of subjectivity. Thus, the Cartesian figure of the modern subject takes on a human and social dimension instead of referring to the ego’s hybris, while Cartesian reason gets redefined as civil and opened, not at all as authoritarian or repressive. In order to support this thesis, this work broaches certain ethical tonalities within Descartes’ discourse that do not necessarily correspond with the expression of an explicit standpoint, but which shed light upon the text’s richness and complexity
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Pecci, Paola. « La "novella strada" del poema epico rinascimentale : Gian Giorgio Trissino e "La Italia liberata da' Gotthi" ». Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424234.
Texte intégralRésumé :
This dissertation is based on Trissino’s epic poem "La Italia liberata da’ Gotthi". It’s divided into two different parts: the first one is a monographic analysis of the different components of the book, while the second is a commented transcript of the unpublished autograph known as "Zibaldone dell’Italia liberata".
More in details, the first part begins with considerations about the "Sesta divisione della Poetica" and the "Lettera dedicatoria a Carlo V", Trissino’s theoretical works about epic poetry. Next part concerns a general presentation of the "Italia", encompassing editions, structure, subjects, sequence of events and characters of the poem, with the intent of approaching the reader to a work often disregarded by the critics. Next chapter deals with the sources of the poem with a specific focus to the reference to Homeric "Iliad": it is discussed how Trissino refers to every single book of "Iliad" and demonstrated how this link is more than a mere inspiration. Last section concerns some elements of the poem still matter of debate: "Italia"’s characters organization and Trissino’s conception of the epic hero; a possible political interpretation of the poem.
The second part is directed to the commentary and analysis of the "Zibaldone" manuscript. It contains autographic notes in view of the draft of the Italia, regarding the structure of the poem, the topics of the books, the Italian geopolitical situation of 6th century, the setting details, the trial version of many lines. This in-depth analysis can be considered a visit into the writing workshop of the author, giving insights into two fundamentals aspects of the composition process: it allows to monitor methods, tools and techniques used by Trissino, as well as exploring his readings and inspirations.La mia tesi dottorale coincide con una monografia sull’"Italia liberata da’ Gotthi" di Gian Giorgio Trissino, poema eroico che si propone quale ambizioso tentativo di rifondazione dell’epos rinascimentale. L’elaborato si compone di due macro-sezioni. La prima parte, più specificamente monografica, comprende: un’analisi delle opere di teoria poetica del Vicentino e una presentazione generale del poema – con focus su genesi ed edizioni dell’"Italia", struttura narrativa, sistema dei personaggi, temi ricorrenti e simmetrie interne, geografia e cronologia delle vicende narrate – che ha l’obiettivo di rendere note ai lettori le caratteristiche di un’opera che – secoli di sepoltura "nelle librarie e nello studio d'alcun letterato" – hanno reso sostanzialmente sconosciuta ai più; una ricerca sulle fonti dell’opera, che concede grande spazio al confronto tra l’"Italia" e l’"Iliade" omerica, suo principale ipotesto classico; infine, alcuni itinerari critici su questioni di particolare rilevanza nel panorama degli studi trissiniani. La seconda sezione dell’elaborato contiene la trascrizione e il commento dello "Zibaldone autografo dell’Italia liberata", manoscritto inedito conservato nel Fondo Castiglioni della Biblioteca Braidense di Milano. Si tratta di un codice che assembla appunti autografi in vista della stesura dell’"Italia": un vero e proprio cantiere di progettazione del poema, in cui Trissino raccoglie annotazioni di vario genere (dagli schemi relativi alla struttura dei diversi libri del poema, ad elenchi di personaggi, fino alle prove di versi, l’elemento più prezioso in assoluto perché, qualora messe a confronto con la loro versione definitiva all’interno dell’opera, fanno luce sul modo di lavorare dell’autore). Lo studio dello "Zibaldone" si è rivelato di notevole interesse sotto due punti di vista: in primo luogo perché consente un ingresso privilegiato nell’officina scrittoria trissiniana. Secondariamente il codice si è dimostrato uno strumento di inestimabile valore per l’indagine delle letture trissiniane e l’approfondimento di un argomento rispetto al quale ancora non sono state avviate indagini significative: la biblioteca del Trissino.
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Sexton, Siobhan. « 'The Proust of painting' : Jacques-Émile Blanche, the 'neurasthenic portrait' and the nervous elite of Paris, 1900 ». Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8810.
Texte intégralRésumé :
Jacques-Émile Blanche (1861-1942) is rarely included in histories of late nineteenth-century French art, despite his prolific career as an artist who produced over 2,000 paintings. A portraitist, Blanche’s upbringing as the son of an eminent psychiatrist provided him with a wealth of sitters connected to his father’s fashionable clinic and, I argue, a distinctive approach to their representation. These relatively unstudied portraits of famous Parisian intellectuals and socialites deserve our attention as works of ‘psychological impressionism’. Combining penetrating observation with painterly execution, Blanche’s methods emphasised the ‘nervous’ disposition of his sitters. Blanche’s practice as a portraitist is one of the reasons for his neglect. His contemporaries were evasive when it came to writing about the genre, uncertain of how to evaluate it – a critical apprehension that has persisted to this day. Art historians are as implicated in what may be thought of as a hesitation around the status and significance of portraiture in late-nineteenth-century French art. The thesis seeks in part to redress this through its examination of Blanche’s portraits as intuitive works of art that not only reflected but also, more actively, produced particular forms of knowledge about the ‘nervous’ condition of Parisian high society. With a focus on Blanche’s depictions of Marcel Proust (1871-1922) and the Comtesse de Castiglione (1837-1899), the thesis considers Blanche’s ‘neurasthenic portraits’ in relation to discourses on modern psychiatry, modernity, and modern art, drawing attention to how they enrich our understanding of the social, cultural and artistic contexts in which Blanche lived and worked. By situating Blanche’s artistic practice within his father’s clinical practice, and by embracing a methodology that draws upon both the histories of art and psychiatry, I argue that the language of Blanche’s portraiture was environmentally connected to the language of nervous disorder. As such this thesis will provide an original contribution to the scholarship on Blanche and offer significant insights into the entanglement of art, culture and nerves in nineteenth-century Paris.
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Rivoallan, Anne. « Gênes et Rome 1590-1650 : pratiques culturelles et échanges artistiques ». Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4035.
Texte intégralRésumé :
Les banquiers liguriens au service de l'Église se sont distingués, dès le XVIe siècle, par un collectionnisme et un mécénat spectaculaire. Ils sont en grande partie à l'origine de la transformation de la Superba. La formation d'un Parnasse ligurien en liaison avec le Tasse et Marino, la présence de maîtres vénitiens dans les collections locales puis, dans les premières décennies du XVIIe siècle, les séjours génois de Rubens et de Van Dyck, témoignent d'une volonté de s'ouvrir aux plus brillants lettrés et artistes étrangers. De même, le soutien précoce, à Rome, que les principaux sujets de la République portèrent au caravagisme et à l'école des Carrache ne laisse de surprendre. Pourtant, les études traitant des échanges culturels entre Rome et Gênes au XVIe siècle sont rares. Et si les publications sur le mécénat ligurien se multiplient, dès lors que l’on aborde le XVIIe siècle, la synthèse des questions que soulèvent les relations entre la Ligurie et la Cité papale, qui débutèrent peu avant le Concile de Trente et qui s'intensifièrent sous le pontificat de Sixte V jusqu'à l'avènement d'Innocent X, n’a pas été effectuée. L'établissement d'une vaste bibliographie et d'un catalogue d'œuvres met en lumière les rouages qui furent à la base des échanges entre Gênes et Rome durant cette période. Par ailleurs, la réflexion menée souligne le rôle tenu par Agostino Mascardi à Gênes, au début des années 1620, puis à Rome, sous Urbain VIII. L'étude montre que la pensée mascardienne, visant à établir de nouvelles formes d'expression pour l'histoire et la fable poétique, s'articule au moment crucial où néo-vénétianisme et recherche antiquaire s'associent afin de définir des langages stylistiques répondant à un mode de représentation idéal que d'aucuns qualifiraient de classique. Enfin, l'analyse de l’œuvre de Giovanni Andrea Podestà et de Giovanni Benedetto Castiglione, peintres-graveurs formés ensemble à Gênes et actifs à Rome de 1630 à 1650, révèle deux tempéraments adoptant une posture différente au contact des milieux savants de la Rome barbérinienneFrom the sixteenth century, the Ligurian bankers who serve the Roman Catholic Church have distinguished themselves by a spectacular artistic collecting and patronage. They are responsible for a large proportion of the urban tranformation of the Superba. The formation of a Ligurian Parnassus in liaison with Tasso and Marino, the presence of venitian masters in the art local collections, then, during the first decades of the seventeenth century, the genoese sojourns of Rubens and Van Dyck, show an indication of willingness to the most brillant foreign men of letters and artists. In the same way, the early support in Rome, than the main subjects of the Ligurian Republic bring to the Caravaggism and to the school of the Carracci, is simply amazing. However, studies concerning cultural exchange between Rome and Genoa in the sixteenth century are rare. And although the publications about the ligurian patronage increase when they touch upon the seventeenth century, a synthesis of the key issues of the relationship between Liguria and the papal city - that started shortly before the Council of Trent and which intensified since the pontificate of Sixte V until the enthronement of Innocent X - hasn't already been done. A large bibliography and a catalogue of works of art highlight the machinerie which was the basis for the exchanges between Genoa and Rome. Furthermore, the reflexion underlines the role played by Agostino Mascardi in Genoa at the beginning of 1620s, then in Rome, under Urban VIII. This study shows that the mascardian thinking, which aims to establish new forms of expression for history and poetic fable, happened at the crucial moment where neo-Venetianism and antiquarian research combine to define the stilistic languages which fit with a mode of ideal representation that some would recognize as classical. Finally, the analysis of Giovanni Andrea Podestà and Giovanni Benedetto Castiglione works of art - two painters and engravers formed together in Genoa then working in Rome from the 1630s to 1650s - reveals two temperaments adopting a different position in contact with the Roman Barberini scholarly circles
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« Mecánica de materiales. MTA6. Teorema de Castigliano ». Universidad Peruana de Ciencias Aplicadas - UPC, 2013. http://hdl.handle.net/10757/306006.
Texte intégral
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« Uma Generalização do Teorema de Castigliano para a Análise de Treliças Inelasticas com Dano ». Tese, Biblioteca Digital de Tese e Dissertação da UFF, 1998. http://www.bdtd.ndc.uff.br/tde_busca/arquivo.php?codArquivo=931.
Texte intégral
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IANNIZZOTTO, STEFANIA. « Processi di toscanizzazione nella Sicilia del Cinquecento. Analisi linguistica dell’Iconomica di Paolo Caggio ». Doctoral thesis, 2005. http://hdl.handle.net/2158/867011.
Texte intégralRésumé :
La tesi propone l’edizione critica corredata dalla descrizione e caratterizzazione linguistica e stilistica di un testo di letteratura medio-alta e di diffusione culturale presumibilmente ampia, quale l’Iconomica (1552) di Paolo Caggio, l’autore indubbiamente più rilevante della letteratura in toscano nella Sicilia di metà Cinquecento. La sua opera costituisce un punto fermo per l’affermazione nell’isola di una solida prosa di base toscana: egli segna così nella storia linguistico-letteraria siciliana un punto di svolta in direzione di una letteratura pienamente collegata, pur con un rapporto periferico, a quella del resto d’Italia.
Il problema della toscanizzazione in Sicilia può trovare così un approfondimento commisurato alle contingenze analitiche attuali. L’osservazione descrittiva e interpretativa del testo dell’Iconomica dovrebbe in generale garantire risultati attendibili in ordine alla ricezione della norma toscana, tanto sul piano teorico della questione della lingua, quanto sul piano pratico dell’effettiva realizzazione linguistica. La scrittura di un testo di letteratura etico-comportamentale – grazie alla sua medietà linguistica e stilistica (equidistante da soluzioni aulico-letterarie o da esiti semicolti), finalizzata alla comunicazione didascalica di valori etici, culturali e sociali a un destinatario di ceto medio-alto – restituisce infatti un’adeguata dimensione sociocomunicativa in base alla quale valutare gli effettivi livelli di toscanizzazione. La tesi quindi, attraverso la ricostruzione filologica e la descrizione sistematica di uno dei principali testi scritti in toscano nella Sicilia cinquecentesca, fa luce sulle fondamentali dinamiche sociocomunicative e socioculturali nell’isola nel secolo cruciale della standardizzazione linguistica italiana: a) incidenza dell’italiano regionale nella letteratura medio-alta; b) incidenza della norma toscana; c) incidenza dei sistemi linguistici interferenti con il toscano e il siciliano, quali il castigliano e il latino.
La toscanizzazione del testo è stata accertata attraverso una ricognizione filologico-linguistica condotta sui piani fono-grafemico, morfo-sintattico, fraseologico-lessicale nonché stilistico-pragmatico, in quanto livello più atto a caratterizzare l’interferenza di siciliano, castigliano e latino col toscano. Le scelte di Caggio sui vari livelli di lingua sono poi state riscontrate con le fonti normative toscane, in particolare Fortunio, Bembo e Trissino sul piano grammaticale, e Acarisio, Dolce, Ruscelli e Varchi sul piano lessicologico-idiomatico. Per rendere più organica la caratterizzazione del toscano usato dall’autore, le soluzioni dell’Iconomica sono rapportate ai corrispondenti esiti dell’opera precedente di Caggio, i Ragionamenti … …(1551). Il confronto rivela una tendenza all’uniformità dell’uso linguistico di Caggio, confermando la stabilità e la maturità della sua competenza e coscienza linguistica in direzione della norma toscana.
Il volume, come si evince dall’indice allegato, è così strutturato:
1. Introduzione storico-culturale e storico-linguistica
2. Edizione critica del testo dell’Iconomica con relativo apparato di nota
3. Studio linguistico del testo
4. Glossario
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Yen-chun, Chen, et 陳彥錞. « The Horse Painting Style of Giuseppe Castiglione ». Thesis, 2005. http://ndltd.ncl.edu.tw/handle/68989660749020141821.
Texte intégralRésumé :
碩士中國文化大學
藝術研究所
93
Lang Shih-ning was the Chinese name used by Giuseppe Castiglione, a native of Milan, Italy. At the age of 19, he entered the Jesuit order as a novitiate, and his early training also included painting and architectural planning. During the eighteenth century, the Ch'ing dynasty sponsored a major revival of courtly arts, which attained a new monumental scale, technical finish, and descriptive intricacy. A key figure in establishing this new court aesthetic was the Italian Jesuit Giuseppe Castiglione. A master of vividly naturalistic draftsmanship and large-scale compositions, in Europe he worked as a muralist. Castiglione helped to create a new, hybrid style that combined Western realism with traditional Chinese conventions of composition and brushwork. Horse was a very popular subject in the brush paintings of the Imperial court of China. The Chinese brush paint artists painted these horses with very well defined features and elegant forms. With few exceptions, most of these painted horses were primarily produced by line drawings to define their features. Paints were later used to fill the blank spaces enclosed within those lines as well as highlighted by others. The lines outlining the features of these horses were clearly visible, which is the only drawback in an otherwise superior painting of horses. In contrast, the horses painting of Giuseppe Castiglione had no visible lines in defining there forms and features. The various colors used in a great variety of combinations, gave the distinctive markings of each horse. Castiglione’s treatment of the exuberant mane and the horsetail was superb and unique, tremendously enhancing the appeal of these horses.
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Santiago, Maria Duarte. « Contaminações Entre Arquitetura e Design : o Método de Abordagem do Atelier Castiglioni ». Master's thesis, 2020. http://hdl.handle.net/10316/92207.
Texte intégralRésumé :
Dissertação de Mestrado Integrado em Arquitetura apresentada à Faculdade de Ciências e TecnologiaA vontade de averiguar desde e até que ponto as áreas da arquitetura e do design se contaminaram mutuamente indaga uma análise e reflexão sobre a relação entre as duas disciplinas, através dos seus pontos comuns e contrários, a sua evolução a par e a solo, as suas transferências e contaminações, entre outros fatores, recorrendo ao trabalho do atelier Castiglioni enquanto catalisador desta reflexão. Esta escolha transporta-nos para a observação mais prudente do período que procede a Segunda Guerra Mundial e que, em Itália, contém um importante pedaço histórico de evolução cultural, mais concretamente, arquitetónica e artística.Uma breve análise dos acontecimentos sociais e culturais permite compreender as causas e os antecedentes do trabalho do atelier Castiglioni, derivando das constantes ligações entre as componentes teóricas e práticas que existem ao longo do decorrer da história da arquitetura. Outros fatores, tais como a sociedade, a política, e a cultura do projeto derivam, especificamente no contexto italiano, de uma ‘cultura de crise’ que se torna essencial para as experiências que surgem deste ambiente e se demonstram relevantes para o estudo deste tema.O traçar do percurso da arquitetura e do design desde as primeiras experiências derivantes da Revolução Industrial até ao culminar da carreira do atelier Castiglioni, tendo sempre presentes aspetos exteriores da sociedade que o envolve – cultura, política, sociologia – ajudará na compreensão da relação evolutiva entre as duas disciplinas e de como é que os processos de conceção do atelier Castiglioni contribuem para esta evolução. Não se pretende uma análise crítica dos acontecimentos, mas um agrupamento de fatores e episódios que fomentam a origem do design e da sua relação com as áreas inerentes da arquitetura, da indústria e da sociedade.
The will to investigate from and to what extent the areas of architecture and design have mutually contaminated each other indulges in an analysis and reflection on the relationship between the two disciplines, through their common and opposing points, their evolution alongside and solo, their transfers and contaminations, among other factors, resorting to the work of the Castiglioni atelier as a catalyst for this reflection. This choice takes us to the most prudent observation of the period that followed the Second World War and which, in Italy, holds an important historical piece of cultural evolution, both architectural and artistic, specifically.A brief analysis of social and cultural events allows us to understand the causes and backgrounds of Castiglioni’s work, deriving from the constant links between the theoretical and practical components that exist throughout the history of architecture. Other factors, such as society, politics, and project culture derive, specifically in the Italian context, from a ‘culture of crisis’ which becomes essential to the experiences that arise from this environment and prove relevant to the studying of this subject.Tracing the path of architecture and design from the first experiences that derived from the Industrial Revolution to the peak of Castiglioni’s career, always keeping in mind external aspects of the society that surrounded him - culture, politics, sociology - will help in understanding the evolutionary relationship between the two disciplines and how Castiglioni’s design processes contributed to this evolution. This is not intended to be a critical analysis of events, but a grouping of facts and episodes that foster the origin of design and its relationship with the inherent areas of architecture, industry and society.
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Wang, Yi-Han, et 王亦涵. « Rethinking the Artworks of Giuseppe Castiglione(1688－1766) ». Thesis, 2008. http://ndltd.ncl.edu.tw/handle/88897228708382893295.
Texte intégralRésumé :
碩士大葉大學
造形藝術學系碩士在職專班
96
To truly understand the ways of the Qing dynasty, we can not limit ourselves to the traditional historical research and archaeology. We should also look to the art history behind Qing Court Art, which is a unique blend of European style painting with Chinese subjects and themes. We owe many of the most famous pieces of Qing Court Art to a missionary by the name of Giuseppe Castiglione (1688–1766). This Italian Jesuit Brother played an impoortant role in Qing Court Art, an artistic style which had significant influence on the development of Chinese painting. Castiglione’s Qing Court art prospered between the late rule of Emperor Kangxi and Emperor Qianlong. During Qing Court Art’s height in popularity, Castiglione’s painting style showed itself to be totally different from both western paintings and traditional Chinese ephemeral landscape paintings. Through his strong foundation in depicting realism, his familiarity with Chinese painting skills and his knowledge of the Chinese painting tools and materials, this open-minded missionary not only understood the aesthetic preferences of the Qing Emperor, but also forged a new painting style which combined Western and Chinese cultures. There are seven chapters in this article: 1. Introduction 2. The History and Background of Western Missionaries Entering China 3. Giuseppe Castiglione’s Major Life Events 4. Characteristics of Castiglione’s Drawing Style 5. Analysis of Castiglione’s Various Styles 6. Influence of Giuseppe Castiglione’s Painting 7. Conclusion Step by Step Discussion of the outside Style and Inner Spiritual of Giuseppe Castiglione’s Art.
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Lin, ShuFeng, et 林淑芬. « Research on the Painting by the Realistic Painter Giuseppe Castiglione at the Ch´ing Court：The Transition Form Painting Style of Giuseppe Castiglione ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/j964wt.
Texte intégralRésumé :
碩士國立臺灣藝術大學
造形藝術研究所
99
If we examine Guiseppe Castiglione—an European painter who travelled and lived in China—from oriental perspective, we may found a strong Chinese tradition in his works; and if we analyze his paintings in view of his Chinese identity (he dedicated his life for Ch’ing Dynasty for 51 years), he would be the first “formally trained Chinese painter” with best understanding of Perspective Theory, Anatomy, and painting skills. This essay is attempting to answer two questions: how did the missionary painter transfer his techniques and experience so well to silk paper painting? And, in what strategy did he learn Chinese painting feature and even surpassed other court painters? This essay is divided into five chapters. The first chapter introduces the motivation and purpose of the research. The second chapter refers to the art education and painting skills he received of his time in Europe before he took his trip to China. In Chapter Three, the discussion pays attention to his experiment, learning, and practice of Chinese painting skills; meanwhile, some of his works are provided as examples to identify the transformation of his style. In Chapter Four, the topic continues from the preceding paragraph to further analyze the compositions in his paintings. Experiment is presented to see whether the base materials he had used resulted in the difference of colors on his paintings. The fifth chapter is the conclusion which hopes to redefine Giuseppe Castiglione’s position in Chinese painting in the light of aesthetics and to represent the monumental significance when west met the east. On the other hand, by examining Giuseppe Castiglione’s art works, this paper will reinterpret the essence of Chinese painting.
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CHEN, LI-HUEI, et 陳立輝. « The Painting Style of Giuseppe Castiglione Applied in Metalwork ». Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3y2mxq.
Texte intégralRésumé :
碩士輔仁大學
應用美術學系碩士班
106
Giuseppe Castiglione (1688–1766) was a painter of court paintings during China’s Qing dynasty who is known for fusing Chinese and Western painting styles. His introduction of Western painting concepts added a new dimension to the court paintings of the Qing dynasty. This study explored Castiglione’s painting style and applied it to metalwork. According to published books about Castiglione, this article summarizes (1) the historical characteristics at his times (e.g., contemporaneous Italy was in the Baroque period), the painting education he received, and the influence of his painting education on the works he created after arriving in China; (2) the shift in Castiglione’s painting style after he learned about Chinese art and how he introduced Western painting concepts into Chinese court paintings in a manner that appealed to the Chinese aristocracy; and (3) the values and contributions of Castiglione, including perspective and shading, which he introduced to Chinese painting. On the basis of discussion, debate, and questions presented in books about Castiglione, in this study, in-depth interviews were conducted with experts on Castiglione to identify conclusions. The research findings were also applied to metalwork. The metalwork produced in this study was based on Castiglione’s painting style; the work was created under the themes of “the Top Ten Flowers in China” and “Native Formosan Flowers,” by using techniques such as wax craving, lost-wax casting, metal spinning, soldering, and riveting, and colored through a combination of oil color and lacquer art. This research may be of referential value to researchers studying related topics.
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« Ethnicity and Identity in the Art of Giuseppe Castiglione ». Master's thesis, 2019. http://hdl.handle.net/2286/R.I.53618.
Texte intégralRésumé :
abstract: My thesis argues that an unrecognized genre existed in classical Chinese painting, one which I call “ethnic" or "minority painting.” The genre of ethnic painting consistently displays certain styles and cultural values and is meant to represent unique ethnic identities. These ideas have not been substantially covered by previous research on Qing dynasty painting. My research raises three main questions: was there a distinct genre in traditional Chinese painting that could be called “ethnic art” (or "minority art")? How did ethnic art distinguish itself within Chinese painting? What were the ethnic identities presented by minority artists from ethnic groups within and outside of China? The materials used for this research include a close visual study of six paintings by Lang Shining (Giuseppe Castiglione) from the Cleveland Museum of Art, the Munich Residenz in Germany and the Musée Guimet in France.Dissertation/Thesis
Masters Thesis Art History 2019
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Almeida, Jorge. « A arte cheia de graça : il libro del Cortegiano de Baldesar Castiglione ». Master's thesis, 2012. http://hdl.handle.net/10451/6960.
Texte intégralRésumé :
Tese de mestrado, Teoria da Literatura, Universidade de Lisboa, Faculdade de Letras, 2012Esta tese consiste numa reflexão sobre os conceitos de graça e sprezzatura na obra Il Libro del Cortegiano de Baldesar Castiglione e sobre a influência que estes tiveram sobre a teoria da arte do século XVI. Tentar-se-á demonstrar que no Cortegiano existe não só a disposição teórica dos mesmos conceitos, mas uma exemplificação dos mesmos na prática e de como esta é sempre mais importante, para os interesses de Castiglione, do que qualquer tipo de teoria. E, uma vez que Castiglione exemplifica em que consiste a graciosidade, será posta em questão a afirmação de Harry Berger Jr. segundo a qual o Cortegiano é um livro que evidencia um processo de “falling from grace”, pois creio que o Cortegiano está cheio da graça que Castiglione dizia ser característica da verdadeira arte. Será ainda discutida a legitimidade de dois lugares-comuns dos estudos sobre o Cortegiano: o suposto acaso responsável pelas ideias artísticas de Castiglione e também a ideia segundo a qual o Cortegiano é um livro de boas maneiras.
Abstract: This dissertation consists of a reflection on the concepts of grace and sprezzatura present in Il Libro del Cortegiano, by Baldesar Castiglione, and how these influenced 16th century aesthetic theory. We will try to prove that Cortegiano not only presents a theoretical disposition of these concepts but also offers practical examples, and how these, in the eyes of Castiglione, are always more relevant than any kind of theory. In addition, we will address Castiglione‟s understanding of grace. By doing so, we will question Harry Berger Jr.‟s theory, according to which Cortegiano is a book that shows a “falling from grace”. For that matter, I will argue that Cortegiano is filled with the grace Castiglione said to be fundamental to true art. Finally, we will analyse the legitimacy of two commonplaces in Cortegiano studies: firstly, that Castiglione‟s artistic ideas are a matter of pure chance and secondly, the notion according to which Cortegiano is a book of good manners.
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Castiglione, Filippo [Verfasser]. « Microsimulation of complex system dynamics : automata models in biology and finance / vorgelegt von Filippo Castiglione ». 2001. http://d-nb.info/961934522/34.
Texte intégral
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Wolf, Gabriela [Verfasser]. « Menschenbild und Bildungsideal in der italienischen Renaissance : Untersuchungen zu Ficino, Pico della Mirandola und Castiglione / vorgelegt von Gabriela Wolf ». 2009. http://d-nb.info/996650695/34.
Texte intégral
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ISENMANN, Moritz. « Legalità e controllo del potere (1200-1600) : uno studio comparativo sul processo di sindacato : Firenze, Castiglia e Valencia ». Doctoral thesis, 2008. http://hdl.handle.net/1814/10430.
Texte intégralRésumé :
Defence date: 18 January 2008Examining board: Prof. Anthony Molho (EUI)-supervisor ; Prof. Wolfgang Reinhard (Universität Freiburg i.Br.)-external supervisor ; Prof. Julius Kirshner (University of Chicago) ; Prof. Bartolomé Yun Casalilla (EUI)
PhD thesis printed and available in two language versions: Italian and German. The original version is the Italian.
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
No abstract available